Bharatanatyam Creative Process: Research, Choreography, and Performance
Performance is the visible outcome, but the real work happens in the quiet of the studio. My approach connects ancient Pāli and Marathi poetry with rigorous movement to create narratives that feel raw and alive.
A studio session for 'Abandhana', a work exploring Pali poetry from the Therigatha. This image captures the raw movement quality we explore in the studio before it is refined for the stage.
A short film documenting the creation of 'VitthāMāi' at the London Performance Studios. Here, I discuss how I use 14th-century poetry to explore ideas of divinity and gender in my choreography.
A powerful image from a rehearsal for 'Abandhana', a piece based on early feminist poetry. The hands of my collaborator represent the external and internal forces that can hold one back, a central theme we explored choreographically.
Another moment from the 'Abandhana' studio sessions. The empty space, the mirror, and the moving body are the essential elements of the choreographic process, where ideas are tested and stories take shape.
A moment of surrender and introspection during a studio session. The creative process is not just about physical movement; it is also deeply emotional and psychological, requiring vulnerability and deep focus.
Exploring the character of Ambapali from the Therigatha in the studio. This image, captured during a rehearsal, shows the process of finding the physical and emotional truth of a character.
Being a part of my teacher Mavin Khoo's choreographic process is always a challenge and a joy. This video captures the raw energy of learning new movement vocabulary directly from him in the studio.
About this collection
My studio practice focuses on deconstructing ancient texts, such as 6th-century Pāli poems, to find the physical truth in movement. This process is rarely linear. It requires constant feedback, collaboration with musicians, and a willingness to unlearn traditional habits to find a genuine expression. If you want to explore how to translate text into choreography or refine your own artistic vocabulary, I offer private mentorship sessions tailored to your specific goals.
I approach Bharatanatyam as a complete way of living and listening. My process, which I call 'riyaz', is the bridge between historical research and the stage. When we work together, we do not simply learn steps. We analyse the sahitya, or literary context, of a composition, discuss the emotional weight of the words, and test how the body can carry those meanings.
This creates an environment that is deeply collaborative. Whether we are working on a solo production or a technique workshop, the methodology remains the same. We start with the source material, whether that is a Marathi abhang or a contemporary poem, and look for the somatic geometry—the body conditioning and limb placement—needed to tell that story with clarity.
In my private mentorship sessions, we apply this same rigor to your work. We audit your existing choreography, refine your Abhinaya micro-movements, or build new sequences from scratch. These sessions are for practitioners who are serious about moving beyond the standard repertoire and want to engage with the creative process on a deeper level. You bring your curiosity and your project, and we break it down, retrain, and polish until the movement feels entirely yours.
Divya Ravi
I believe dance is a way of living and listening, not just a series of steps. My days are spent diving into ancient poetry and collaborating with musicians to bring these stories to life. I approach everything I do, from performance to teaching, as an ongoing research project.
Find more workshops and training options
Search by location, dance style, or specific training focus.
More from Bharatanatyam Workshops & Training by Divya Ravi