Bharatanatyam Performances and Stagecraft
A journey from the studio floor to the professional stage. These moments capture the discipline, camaraderie, and storytelling that bring our Bharatanatyam productions to life.
Performing with my Natya Vriksha Dance Collective at the iconic Bharat Bhavan in Bhopal. The unique architecture of this space, designed by Charles Correa, creates an intimate connection with the audience.
On World Yoga Day, a reminder that every moment of classical dance is a form of yoga. The postures and discipline of Bharatanatyam are deeply connected to yoga-shakti.
Backstage chaos before "ABHYAAS," our student showcase. It's a learning experience for everyone, from the young shishyas to the senior students managing the details.
A student gets ready in the green room, catching a final glimpse in the mirror. The moments before going on stage are filled with a unique, focused energy.
My husband, Rajiv Chandran, interviews senior students backstage. The "Abhyaas" showcase is a collective effort, involving the entire Natya Vriksha family.
A flurry of activity in the dressing room. Costumes, jewelry, and hair are all meticulously prepared by a team of senior students and volunteers.
A senior student helps a junior with her costume. This is the guru-shishya parampara in action, where older students mentor the younger ones.
The final touches being put on a dancer's traditional hair braid. Every detail of the costume and adornment is significant in Bharatanatyam.
The art of Nattuvangam, or rhythmic conduction, is my second love. Here I am accompanying my student Madhura Bhrushundi on stage, leading the musical ensemble for her performance.
The talented Kuchipudi dancer Abhinaya Nagajothy performing at our Young Dancers Festival. It is a pleasure to host artists from other classical traditions.
About Performances & Stagecraft
While the spotlight creates the magic, the true performance begins in the green room. My shows, especially with the Natya Vriksha Dance Collective, rely on the meticulous work of senior students who handle everything from costume adjustments to lighting cues. When you watch these pieces, you are seeing a culmination of rigorous studio practice and the quiet, synchronized chaos of backstage support.
The transition from the practice mat to the proscenium stage is where our training is truly tested. It involves more than just perfecting an adavu or mastering a rhythm. It requires a deep understanding of stagecraft, an awareness of the audience, and the ability to hold the space.
In our productions like 'Songs of the Millstone,' we explore the feelings of working women, blending classical dance with theatrical elements. This requires a shift in how we approach performance. It is not just about the dancer; it is about the entire ensemble, the interaction with live musicians, and the technical team controlling the light and sound.
My role often shifts, too. Beyond the choreography, I am deeply involved in the nattuvangam, guiding the rhythm on stage as my students perform. This is a conversation between the dancer and the musician, an immediate connection that keeps the performance alive and spontaneous.
Whether we are performing in a large auditorium in Delhi or a more intimate venue like Bharat Bhavan in Bhopal, the goal remains the same: to communicate. We use abhinaya to tell stories from our traditions and connect with the rasikas, or audience. If you are looking to understand the production side of Indian classical dance or interested in hosting a performance, these moments offer a glimpse into the collaborative work that makes it all possible.
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