The year was 2024. Bijayini Satpathy was leading a workshop at the Center for the Performing Arts at Penn State University. As a long-time admirer of her artistry, I encouraged one of my students to attend, eager to witness her pedagogical approach through their experience. When my student returned, she recounted the depth and precision of Bijayini’s teaching with great enthusiasm—and shared an unexpected detail: she had referenced my interpretation of the Abhinaya Darpanam to support her instruction.

In May 2025, while in New York City to review performances at the Dancing of the Gods festival, I finally had the opportunity to meet Bijayini in person—not only as a dancer, but as a fellow thinker, artist, and teacher. What began as a casual conversation soon unfolded into a layered, reflective dialogue on life, performance, pedagogy, and the evolving landscape of dance scholarship.