‘Singlish’ Dancer Auditions 31 Jan 2017 & Open Exchange 1 Feb 2017

Seeking two dancers in Singapore for my newest dance-theatre work ‘Singlish’ and we are also holding an open cartier bracelet prices uk
exchange cartier love bracelet to meet dancers and actors in Singapore for future productions.

(1) Singapore Audition for Contemporary and Traditional Dancers

(2) Open Exchange for Dancers of All Forms

Theatre of Rhythm and Dance (Australia) is seeking two professional female or male dancers – a Contemporary dancer and a Traditional Indian dancer for a new dance-theatre work, SINGLISH by Australian choreographer, Annalouise Paul.

This new Australia-Singapore collaboration, ‘Singlish’ (working title) explores identities in transition through loss and erosion of languages and literature, which shape culture and identities. Using phonetics of local languages and creoles, rich choreographic scores will be drawn from grassroots writings, popular fiction and literature and dance as an unspoken language that can transcend literal meaning.

Essential: Strong technique and professional performance experience. Dancers need to be willing to explore new processes through task-based work, improvisation and work with spoken text. Basic use of a language other than English for both dancers is preferred. Traditional Indian dance form may be any style, e.g. BN, Kathak, Odissi etc.

  • Tuesday 31 January, 10.00am – 1.00pm. Audition for Contemporary and Traditional Indian dancers. Singaporean or PR.

Dancers are expected to attend the Open Exchange, the following day as part of your audition. Please advise if this is not possible.

  • Wednesday 1 February, 10.00am – 1.00pm. Open Exchange. This cartier replica will be an open session for dancers of any form, style or nationality to participate in a movement-based exchange with Annalouise, exploring the themes in the work using text and language.  Open to emerging artists, artists with a disability, actors with an interest in movement. All are welcome.

Venue: Singapore Repertory Theatre, Rehearsal Studio 2. Address: 25 Tai Seng Avenue, Level 2, Singapore 534104

Important note: Once selected from the Singapore audition, both dancers should be ready to start work the following week on Monday 6 February.

  • Stage 1: 6-17 February 2017. Mon-Fri, 9.00am – 5.00pm. Studio: SRT Rehearsal Studios.
  • Stage 2: Sept 2017. Malaysia: Rimbun cartier bracelet of anastasia steele quotes
    Dahan 4 weeks. Dates TBC
  • Stage 3: Performance season March 2018 Sydney. Further dates and cities discount cartier bracelet TBC.

Contract period: ‘Singlish’ is being developed over various stages throughout 2017-2018. There are two contracts:

  • The Contemporary dancer must be available for ALL Stages.
  • The Traditional Indian dancer is required for Stage 1 only.

Fees: Artists will be paid a project fee and offered flights, per diems cartier love bangle and accommodation for the international contracted periods.


Please register your interest for Dancers’ Audition by email by 23 January 2017 by sending the following; Watch movie online The Transporter Refueled (2015)

  • A bio or CV
  • A headshot
  • 2-3 links of you dancing www.callingallcakes.org or performing live. No promo show reels. Links only (Youtube, Vimeo etc). Please do not send media files (mov, for eg). N.B. If you do not have any links, please mention this in the email.
  • Following your registration we will contact you with more information about the audition.

Please register your interest for Open Exchange by email by 23 January 2017 by sending the following;

  • Your name, contact details and a short callingallcakes.org statement on how this might be valuable or of interest for you to participate.

Email: annalouisetania@gmail.com

For more information, contact Tania Goh via email or mobile (+65. 973 777 03)

About Theatre of Rhythm and Dance

Theatre of Rhythm and Dance is an Australian Arts in Asia Award winner 2013 and NSW Premier’s Export Scholarship winner 2013. Annalouise’s choreographic work explores identity and transformation through the intersection of traditional and contemporary forms. All artists will be credited as collaborators in this new work.

Co-produced by SaltShaker Arts Management (Singapore) and Theatre of Rhythm and Dance (Australia).

‘Singlish’ is supported through National Arts Council Singapore, Rimbun Dahan (Malaysia) and Parramasala Festival (Australia).


WINNER for NSW Export Awards

Theatre of Rhythm and Dance won the Premier’s NSW Scholarship Award for its export of innovative arts performance to India in 2012 and 2013!!  Hooray!

Ian Murray, Executive Chairman of the Export Council of Australia said, “Last night in Sydney the state’s best of the best exporters were rewarded for excellence at the NSW Premier’s Export Awards. The Premier’s NSW Export Awards showcased the state’s export elite, in front of an audience of over six hundred guests and Guest of Honour the Hon Andrew Stoner, Deputy Premier of NSW. This year’s awards showcased some truly innovative companies, particularly in all export sectors and we congratulate Theatre of Rhythm and Dance on their success”

The Export Council of Australia and NSW Trade & Investment and sponsors congratulated the export elite, 20 winners and 79 finalists at the 51st Premier’s NSW Export celebration held at the Sydney Convention Centre, Darling Harbour on Thursday, 16 October 2013.

The NSW Scholarship Award is offered to a small to medium organisation that has attained rapid export growth and achievement in any industry sector. The Scholarship provides an opportunity for a business to expand export operations by up-skilling it staff.

Theatre of Rhythm and Dance has grown from strength to strength in 2012-13, winning awards, touring internationally to new markets and securing a reputable a reputable national and international producer, Red Chair.

TRD is an emerging Australian dance theatre company presenting innovative and original intercultural works nationally, exploring traditional and contemporary values and deeper communication between cultures of Australia’s immense and uniquely diverse population.



Premier's NSW Export Awards 2013

Premier’s NSW Export Awards 2013

Premier’s NSW Export Awards 2013


Magic ‘Gathering’ of artists

Gathering 2013 presented by Kultour was a landmark meeting for 19 artists from across Australia to meet over a few days and work with 8 arts provocateurs who posed questions about our intercultural practices, on how we present and re-present ourselves in the product driven market.

Right Here/Right Now was the final piece of picture where we had the opportunity to open up the minds of presenters and producers about our practice… and in the words of Teresa Crea we bring our own “cultural aesthetics” to any particular program. Rather than perceiving a “problem” of understanding and programming “multicultural work” we have the enticing opportunity of opening up programs to artists and audiences with a different “cultural aesthetic” to our own.

Magic.  Thanks to Kultour for an amazing experience. 


Gathering artists, L to R: Liz Lea, Chi Vu, Jade Dewi, Katrina Lazaroff, Annalouise Paul, Maitland Schnaars. Photo by Panos Couros.

“Breaking out of the Multicultural Ghetto”  Arts Hub, Wednesday 11 September, 2013

Choreographer, dancer and actor Annalouise Paul, who has been creating intercultural dance theatre since 1988, agrees that ‘multicultural’ has become a loaded term.

‘Back in the Seventies, or the Sixties, when it was basically put into legislation, back then it was actually a really positive term, but through the breakdown and the removal of the word from legislation – this is what came out of somebody’s speech [at the Gathering] today – it’s become a dirty word,’ she said.

‘And for us as artists, that’s kind of filtered down; you don’t want to be labelled as this thing, you just want to do your work … make work [that is] recognised as being good art, as opposed to multicultural art.

‘Having said that, as a devil’s advocate, I personally don’t have a problem with [the word] because going back to the original intention of what multiculturalism was about for Australia, I think it’s a joyful thing that we have this kind of a culture where we can actually embrace that and explore that, and I do that in my work. But on the whole, the consensus or the feeling is that if you’re labelled, labelling is the bad part of it,’ Paul continued.

Right Here/Right Now is enabling us to get back to what is really important, and that’s our art practice. All artists have to deal with this; all those labels and boxes and gymnastics around language that we have to do in order to get out work funded and seen, validated or whatever; it slows down the process of actually making the work, and that’s what’s coming out of these three days.’

Full article http://www.artshub.com.au/news-article/features/arts/breaking-out-of-the-multicultural-ghetto-196584

Other Arts Hub Articles on ‘Gathering’ http://www.artshub.com.au/news-article/news/all-arts/reframing-the-cultural-aesthetic-196620

KULTOUR is the national advocacy body for culturally diverse arts.

India home!

Back to India teaching, performing, new collaborations and old (new) friends!

April and May I will be back to do some flamenco gigs with Abhishek Basu, master tabla player and his band, as well as teaching flamenco in Kolkata and cross cultural dance exploration at Gati Studios in New Delhi. In addition to this a new collaborative work begins with Kathak dancer, Ashavari Majumdar. It will be exciting to see friends again and also venture into the cradle for dance in India, Chennai.

Performance in Kolkata



‘EAST MEETS WEST HERE’ Deccan Chronicle Bangalore

EAST MEETS WEST HERE  Deccan Chronicle Bangalore

September 25, 2012

by Ayesha Tabassum

My production is connected with India at various levels. But when I look at Bengaluru – the discerning audience’s verdict is more important to me. As a performer to get critical acclaim in this city means more than just a performance”, says dancer Annalouise Paul.

Tabla exponent, Bobby Singh known for winning the Aria award is collaborating with Australian based performer, Annalouise Paul.   Quoted from article below. Read full interview. 



Contemporary Dance Interface  by Leela Venkataraman

The evening at Habitat began with “Game On” by Theatre of Rhythm and Dance from Australia, the tabla and Western Contemporary Dance pushing art boundaries in an interaction — alternately performing till rapport is built with the two coming together. The “Dha dhin dhin na ….ta tin tin ta …Dha dhin dhin na” rhythmic cycle, without the foot stomping dancer, found a rhythmic togetherness — even as hands and sometimes feet traced a silent rhythm-in-the-air route. One felt a less simplistic and more adventurous interaction could have been worked out showing rhythm transcending cultural boundaries.

Kolkata’s Sapphire Creations in its annual Interface festival has been sponsoring cross-national and cultural Contemporary Dance collaborations.

Read full Festival review.

Photo by Ravi Shankar


‘VISUAL TREAT’ The Statesman

Visual Treat by Shoma A Chatterji

6 October 2012

Shoma A Chatterji experiences exquisite choreography and performances at Interface 2012

Theatre of Rhythm and Dance from Australia presented a beautiful piece called Game On choreographed by Annalouise Paul. It is about the meeting of an Indian musician and an Australian dancer on a performing stage. The friendship takes a tumble when the competitive mood steps in to seduce the audience more towards a confrontation of philosophies involving the East versus the West, or, music pitted against dance and winning at any cost overshadows the rules of the game. Bobby Singh and Miranda Wheen coloured their performance not only with skill but also with wonderful touches with humour.

Sapphire Creations, founded by noted contemporary dancer, choreographer and trainer Sudarshan Chakraborty is one of eastern India’s best experimental dance companies. It recently organized an international festival under the acronym Interface 2012 in Kolkata. Interface stands for International Festival of Alternative and Contemporary Expressions. The performance venues were spread out across several centres and platforms. The festival included dance workshops conducted by international experts. This culminated in exquisitely choreographed and conceived performances in the evenings.


Read full Festival review

Photo by Ravi Shankar


Recollections of the Asia-Pacific International Dance Conference, 22-25 September 2011

In September 2011, I attended the Asia – Pacific International Dance Conference and was asked to write some thoughts on my experience for CHANNELS.

Hybridity has been an ongoing inquiry in my dance practice for over twenty years. Earlier this year I investigated some new research questions at Critical Path, a choreographic research and development center for dance artists in Australia, where I posed some anthropological perspectives: Can we create a hybrid form in a laboratory situation? If so, what are our reasons to come together in a safe ‘multicultural’ society? How do notions of celebration of diversity shape our works, and are they enough?

 It was serendipitous that I managed to attend the Asia-Pacific International Dance Conference 2011 in September, hosted by the University of Malaya in Kuala Lumpur. It was four fantastic days of networking with dance researchers, scholars, dance producers and artists keen to listen and share their fieldwork and perspectives on hybridity in dance, a timely contribution to my own choreographic research.

Hybridity was presented as being ‘the offspring of two parents’ and contested that it not be used to describe an existing dance form but rather ‘a process of something on the way to something new’. It was discussed as the ‘slow evolution of localised forms’ and ‘the changing or coming together of two things because of socio-political circumstances in a particular community or region’ and it was pointed out that this process was not the same as artistic practise which must be clearly defined as just that, or as ‘hybridism in process’.

Not being an academic, I always find it challenging to link academic or reflexive practice with artistic practice, but the experience of the conference was completely engrossing. Dance anthropologists, ethno-choreologists and musicologists investigated a wide variety of themes, from traditional dances performed as daily practice by ancient cultures, to the hybrid dances-for-dance’s-sake created in the high arts.

Presentation papers at APIDC ranged from movement dialogues or ‘shifts’ in Hawaiian dance history, to discussions of the Norwegian Halling dance, multimedia in contemporary Indian dance productions, the trance dances of the Temiar aboriginal peoples of Malaysia, the minority cultures of Laos, trans-global Salsa dance, and the hypergendering of male and female forms in Bollywood items. Examples were drawn from the works of young choreographers on the British South Asian scene, such as Sonia Sabri and Shane Shambu, and Malaysian artists such as Umesh Shetty. Two papers by practicing artists were given. One was by keynote speaker Jonathan Hollander, New York choreographer, who told of his influences from Indian Carnatic music, and his exchanges with Samir and Sanghamitra Chatterjee and choreographer Ramli Ibrahim. “Who is the judge of authenticity?” he asked. Hollander also contested that hybridity is only accepted when the artist is ‘too big to fail’, and discussed the ‘mediocritizing’ of new exploration by use of the term ‘fusion’.

Attendees of the conference were mainly from the Asia- Pacific region and some came from as far away as Norway, Ireland and New York, but artists and researchers alike were asking the same questions and questioning the same politics on the validity of multiculturalism. Dato’ Norliza Rofli, the Director General of Malaysia’s National Department of Culture and Arts, offered the ‘Realising 1Malaysia’ policy in her keynote speech as the credo of contemporary life in Malaysia. We were asked to ‘forget the politics’ and to celebrate the country’s unique multiculturalism.

Cross-pollination, melding, braiding, weaving and fusion of cultural dance and music have been going on for eons. They express our need as human beings to exchange, share, trade with, or befriend another culture or people. The downside to globalisation, and the further hybridisation of dances such as Salsa, Hip Hop or Bollywood, means there is a serious disinterest in older cultural heritage. The social and folk dances of the past are becoming endangered species. Even here at APIDC, the art works examined in the presentations focused more on classical ballet and contemporary dance ‘fusion inspired’ works, rather than those that actually utilised and examined cultural content at an intrinsic level.

I found it exciting to discover theories that had a connection to practice, particularly from those researchers who had embodied their fieldwork in some way. There were many non-academics with strong ideas to contribute who felt there was not enough real discourse on the exploration of hybridity in dance practice, and on how the politic of multiculturalism does not work. Vibrant conversations were had in the hotel lobby or crammed in the back of a small Toyota in Friday night traffic.

I feel honoured to have met so many passionate and very real pioneers in our local region, particularly from Papua New Guinea, Cambodia, and East Timor, where singular individuals are forging pathways for dance to exist as a valid career, art form and research subject. Some are even campaigning for a National Dance Repertoire to protect and nurture awareness of their cultural heritage within the local youth and communities. My hat goes off to the many organiser-professors who hosted this rich and diverse program and their students who helped to see its success. We received a CD of the more than 30 presentation papers and keynote speeches featured in the conference. The event also included a show every night by local and international artists as part of the biennial MyDance Festival, and Jonathon Hollander’s Battery Dance Company in collaboration with Malaysia’s Sutra Dance Theatre. This years’ conference also launched several dance books on contemporary dance practice in Malaysia and Australia.

Being amongst such an array of like-minded people was thrilling. The aporia of hybridity continues globally, and we continue to struggle with alternative definitions of hybridity as a catchall word for ‘neo-ethnic’ dance or as a term for understanding process. However, it was clear for everyone at the conference that what is important is not how cleverly we might put dances together in art making, but the quality of the exchange, and the respect for the culture we choose to share, or which we already hold in common.

Annalouise Paul is an independent choreographer. She has been creating works around identity and transformation using traditional and contemporary dance and live music for twenty five years in Sydney and London. APIDC 2011 was an opportunity to deepen her choreographic research and develop networks for her intercultural company, Theatre of Rhythm and Dance.  

Channels, No. 2 December 2011

Newsletter of the World Dance Alliance Asia Pacific

Editor: Bilqis Hijjas  Publisher: Australian Dance Council—Ausdance Inc.

‘Game On’ moves to The Studio, Sydney Opera House

AUGUST 4, 2011


Game On was scheduled to tour to regional schools in NSW in August 2011. Due to unforseen circumstances and monster quick-change of planning and production management by Arts Radar, Game On premiered at Australia’s most prestigious and iconic venue the Sydney Opera House in The Studio. The work received great press and public response and three shows fully booked out the artists and creative team were more than thrilled to change courses in the end. All’s well that end’s well! 



Game On is a humorous but fervent banter between two contemporaries. Indian musician meets contemporary dancer on stage for a jam, so what does it really take to know another culture? Is it about music vs. dance, east vs. west or simply watching and listening? But as artists go, winning audience affection takes over and playing by the rules becomes anyone’s game.

An interplay between two finely skilled artists, Aria award® winner Bobby Singh on classical Indian tabla and contemporary dancer Miranda Wheen.
Choreography and Concept Annalouise Paul
Musical Dramaturgy Peter Kennard

Saturday 13 August @ 8pm
Sunday 14 August @5pm
Monday 15 August @ 3pm

The Studio, Sydney Opera House

RSVP is essential as seating is limited. rsvp@artsradar.com.au
Presented by Arts Radar.
This show has been supported by Arts NSW, Arts ON Tour, INAPAC, Ausdance DanceWest Residency and Macquarie University.


NOVEMBER 3, 2010

No Man’s Land – An experiment in movement

A Moving Experiment

June 11, 2010


Annalouise Paul is a pioneering dancer and choreographer who has danced for Michael Jackson, Antonio Vargas Co., Simply Red, Los Angeles Opera, Sydney Festival and Australian Dance Awards at the Sydney Opera House. She was assistant choreographer on True Lies working with Arnold Schwarzengger and director James Cameron (Titanic, Avatar, Terminator). Annalouise has been the recipient of Arts NSW, Australia Council, Greater London Arts and Critical Path to research and develop her own choreographies. Annalouise has collaborated extensively with Bobby Singh for several years on these works. Bobby is one of Australia’s well-known tabla players, a student of Pandit Nikhil Ghosh and Aneesh Pradhan. Bobby Singh has received numerous awards and performed with musicians all over the world and in many festivals.

I watched two shows in 2008 Isabel, a collaboration between Annalouise Paul and Bobby Singh who explore the story of Queen Isabel through flamenco dance and tabla rhythms and Game On, a flirtatious game between dance in movement and tabla rhythms between Miranda Wheen, an agile contemporary dancer and Bobby Singh amongst other musicians at the Parramatta Riverside Theatre. Impressed with their work  I have been trying to arrange an interview with Annalouise Paul for some time now and was finally able to connect with her recently. Annalouise Paul presents her views on inter-cultural work and experiments and her shows Game On and Isabel :

Sydhwaney: A lot of fusion work remains in a ‘no mans land’ if you know what I mean ?

Annalouise Paul: Yes, well ironically I feel the genre itself is in no man’s land, particularly in NSW there are few, if any platforms for intercultural works to be developed or showcased so they can begin to grow. There are pockets of Indians, Belly dance, flamenco, Cubans, Africans, Asians etc all working separately but not really any place we can ever see them work together.

I would love to curate a season at a theatre or some other venue that could house all these cultural forms and showcase NSW artists. All other states, VIC,WA,SA,etc have a multicultural arts body that not only advocates for their local artists but presents showcases with opportunities to  raise awareness and actually build new audiences with communities.  We don’t. We need to keep proving ourselves to venues and presenters before we can even create the work, it’s a Catch 22.  But I have been talking with a few venues lately about this idea so maybe we’ll see something spring up later this year or next.

Sydhwaney: What are you doing now?

Annalouise Paul: I have been developing new ideas for shows to gain funding and working to get my last two works out on tour, Isabel and Game on and forming my company and website, Theatre of Rhythm and Dance. I have also been invited to guest lecture and choreograph at Macquarie University later this year. I will choreograph on the students and hope to introduce some cross-cultural ideas and themes with live music , so we might see more intercultural works out there in a few years.

Sydhwaney: Game on is an interesting mix of styles. The artists, Bobby Singh on Tabla, dancers Miranda Wheen go on a challenging journey of movement and rhythm. I am interested in talking about this show. “Game on” .. what is it about ? when is it on ? what is the aspect of dance that is being portrayed in it.. or is it free form and meant to be seamless

AP Game on has recently been confirmed for a schools tour in 2011, which is very exciting. Game on is a duet between one contemporary dancer (Miranda Wheen) and an Indian musician, ( Bobby Singh) in a meeting of the minds. It’s all about exchange. They exchange ideas, cultural knowledge, improvise and dance to Indian and flamenco rhythms, all the while paying games on who’s leading and following, that kind of thing. This eventuates in a story that somehow could be their personal stories, but it is, left unclear so the audience is left to question what part is fact or fiction and the ‘game’ then becomes three way between them and the players and not unlike a reality TV game where the audience become part of the game in some way, part of the critical decision making.

Game on developed from Critical Path research in 2005 and 2007 looking at how contemporary dance is altered by using traditional rhythms. Many people felt a new genre was forming. The exchange was amazing and many ‘games’ were played between the dancers and musicians that a work simply had to come from it. Game on is a unique work, using innovative ideas and artists that are not only so talented and easy to work with, they are willing to keep exploring and finding new territory, it is a joy for the audience to watch them.

I guess that’s a big key I have learnt to solid ‘fusion’ collaboration – you need to have people around you who are like-minded. When it comes to cultural dance music and theatre I believe we need artists that want to preserve and maintain and the ones that want to explore and innovate. Both are relevant. But either way, you have to want to dig deep, maintain the authenticity of the culture and respect for protocols.

Sydhwaney: I want to you to talk about the idea of Isabel. When I watched it last year,  I was immediately touched by the depth and intensity of your performance as Isabel. May be a part of me that is used to watching  a story being told as in traditional Indian dance forms like Kathak and Bharathanatyam felt satisfied. Where did you get your inspiration from, how did the show develop, your idea of its choreography, mixing it with tabla sounds …Aspects of it.. the storyline of course…

AP Thanks Sumi, that’s wonderful that you still have such a vivid memory of it! Isabel was extremely well received in the 2008 season. It was performed in a double bill with Game on in the umbrella title Conversations in Rhythm + Dance. It has been short listed for touring but  to date because we lack a  NSW rep many out of state presenters were interested but reluctant to take on a show that cant be vouched for, no matter what the press say…another testament that we need a dedicated multicultural organisation in NSW!!

Isabel was in a way my calling card so that funders, arts community and peers could witness me as a performer doing my own work.  It told the story of Queen Isabel of Spain in 1492. I am obsessed with the idea of ultimate power , and I guess it is an allegory for someone like George Bush, Hitler etc  What kind of mind must it take to  justify murder and persecution of others in the name of God, religion or some higher order?  I started researching flamenco and discovered Queen Isabel. Then I uncovered my own ancestry, which I had never really done before on my father’s side. It all came together in a short space of time and it all just made sense. My father was Sephardic Jew and connects directly to this time in history when Isabel expelled the Jews s from Spain, formally the Spanish Inquisition.  Over centuries they migrated through the Arab countries and then onto India where my dad was born, in Kolkata.
As the story goes, which is fiction not fact of course, Isabel prepares for her coronation and in doing so her mind starts to play tricks on her. Her conscious over takes, feelings of guilt, remorse set in, her inner voice challenges her to look at her actions; murder; looting; destruciton that aided her rise to power and victory.  The facts are in 1492 she conquered the Arabs, expelled the Jews and funded Columbus to find the ‘new world’, which of course was the Americas. She saw to it that Spain became a world leader and Catholic, even though all these cultures and others had been living in harmony for centuries.

I would love to develop this into a full-length work that might comprise of other characters and bring one some other cultural forms. This version was simply flamenco and Indian, we chose rhythms that matched the feeling of characters mood and could have an onstage exchange to show her growing madness. By the end Isabel is quite ‘mad’ she is impossible to control and her need to succeed overtakes all reason, she shuts out her humanness in order to see her  (God’s) will be done.

Creating a role like this was a great challenge but also right up my alley.  I am a flamenco and contemporary dancer but also a trained actor.  I trained in Los Angeles in film and TV and later on theatre. All my works revolve around the dialogue that happens on stage between dance and music in a theatrical story or premise. It really is theatre. Back to intercultural (fusion) and no mans land … I’d like to share this with you, a quote from a gorgeous book “Classical Indian Dance Tradition in Transition”.    The final page reads:

“Nothing should be taken as good or acceptable merely because it is old. Nothing should be treated as bad because it is new. Great men accept the one or the other after careful examination or deliberation. It is only a fool that has his mind led by the belief of others” –Malavikagnimtra of Kalidasa, Act 1 Verse 2

Sydhwaney: Well, certainly Kalidasa sums it off very beautifully. Thank you !!