Artistic Milestones and Recognitions in Bharatanatyam
Beyond the stage, my journey as a dancer is shaped by constant learning, research trips to spaces like Mahagami Gurukul, and the humbling moments of recognition that encourage me to keep digging deeper into this art form.
The nameplate for 'Divya Space' at the Mahagami Gurukul. Seeing this was a deeply moving experience, a testament to the beautiful vision of this incredible arts institution.
A close up of the traditional head ornaments and makeup for a Bharatanatyam performance. The process of getting ready, or 'aharya abhinaya', is a meditative ritual in itself, helping me transform into the character I am about to portray.
Humbled to receive the 'Natya Ratna' award at the Trinity Arts Festival. Such recognition is an impetus to continue serving the art form with honesty and dedication.
The serene entrance to Mahagami Gurukul in Aurangabad. Spaces like these, where every element breathes art, are a profound source of inspiration and a reminder of the holistic nature of a life in the arts.
The magnificent banyan tree at Mahagami Gurukul. Spending time in such a spiritually charged and aesthetically rich environment was a meditative experience that I carry with me.
A moment of quiet contemplation during a performance in the UK. The stage is a sacred space, and finding these moments of inner peace amidst the energy of a performance is a practice in itself.
About this collection
Receiving the Natya Ratna award was a deeply humbling milestone, but my growth truly happens in the quiet moments between performances. Whether I am exploring the architectural details of a gurukul or preparing the traditional aharya (costume and makeup) for a show, these experiences inform every piece I choreograph and every workshop I facilitate.
Awards and accolades serve as markers of the path, but they aren't the destination. Being conferred with the 'Natya Ratna' award at the Trinity Arts Festival was an honor that reminded me of the responsibility I carry as a practitioner of Bharatanatyam. It stands alongside other crucial experiences in my career, like performing in Reading, UK, or the transformative hours spent at the Mahagami Gurukul in Aurangabad.
My approach to dance is inherently research-driven. I find that I cannot perform a piece without understanding the literature, the history, and the geography behind it. This is why my travel is rarely just for leisure; it is an extension of my riyaz (practice). Walking through spaces like Mahagami, where the environment is sculpted to nurture art, changes the way I carry my own body on stage. It grounds me.
The process of aharya abhinaya—the makeup and ornamentation before a performance—is just as significant as the technical Nritta sequences. It is a meditative ritual. When I share these reflections, I am not just talking about achievements, but about the elements that constitute a life in dance. Whether I am conducting a masterclass in London or Bengaluru, or refining a piece for a stage, I bring these influences—from the texts of Jayadeva to the architecture of a gurukul—into the conversation. This is the holistic view of Bharatanatyam I aim to foster in my students.
Divya Ravi
I am a Bharatanatyam performer and researcher constantly looking for the stories hidden in ancient poetry. My dance is an ongoing study, and I love sharing this deep, technical approach with students who are ready to do the work.
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