The May edition is filled with impressions of many dance, theatre and visual

Arts shows and installations in Chennai and Mumbai.

From the only India showing of celebrated UK choreographer Akram Khan’s GIGENIS- A generation of the earth, to THE FEMALE LEGACY PROJECT that celebrated 3 unusual women performers, this podcast also asks many important questions. What is the physical limit for a dancer’s training if injury is the inevitable end result?

Does a performer have a time period for a creative arc before they become repetitive?

Join us for another iteration of ANITA SAYS, a monthly capture about Indian dance.

In this April episode of the Anita Says podcast, I dive into why the March episode was a **silent podcast** and shed light on how AI has been misused by scammers to impersonate my personality and voice. I share my thoughts on the impact of AI in the arts, discussing both its creative potential and the ethical concerns surrounding its use.

Additionally, I reflect on my March performances - sharing personal experiences from the stage, key takeaways, and behind-the-scenes insights. I also provide my observations and thoughts on the performances I watched, analyzing artistic interpretations, technique, and overall presentation.

This episode is a blend of personal reflection, industry insights, and a critical discussion on AI’s evolving role in the world of performing arts. Tune in for an engaging conversation on creativity, technology, and the ever-changing artistic landscape.

The sounds of silence

When voice, ideas, images, thoughts, notes and personal histories are hijacked and manipulated by AI, what are we left with? Ourselves – our minds – this invisible and ephemeral time bound entity.

The Non-Podcast podcast is in solidarity with all artists and creative people, me included, who have been at the receiving end of the havoc and devastation caused by the unethical and unauthorised use by AI of a personal data for unscrupulous ends.

Welcome to the March podcast of ANITA SAYS and listen – to nothing.