Behind the Scenes: The Bharatanatyam Creative Process
Art is not just the final bow on stage. It is the morning rehearsals, the frantic logistics, and the quiet hours in the studio where the choreography truly comes to life.
A vlog detailing the intense preparation for my ICCR tour to Russia. It shows the reality of juggling a solo premiere with putting together an international tour for 15 artists in just a few days, a testament to my team's dedication.
Practice versus performance. This video shows how hours of studio rehearsal, focused on emotion and experience, culminate in a few polished minutes on stage. The process is where the real work lies.
A fun moment in the studio learning a Jathi from a fellow dancer. My studio is a space for learning, sharing, and joyful exploration, even when we are just dancing for fun.
An informal moment of discussion and brainstorming with my dancers in the studio. My process is highly collaborative, and I believe in creating a space where ideas can be shared freely.
The joy and camaraderie that fuels our work. These lighthearted moments are just as important as the intense rehearsals, building the chemistry that makes our ensemble performances feel connected and real.
Even the photographer becomes part of the team. A fun, unplanned shot from a studio session that captures the collaborative and friendly atmosphere I foster in my creative projects.
A throwback to helping a fellow dancer with his makeup backstage. In my world, collaboration means supporting each other in every way possible, on and off the stage.
About this collection
My creative process is built on the belief that art is a collective effort, not a solitary pursuit. Whether we are mapping out complex formations for a stage ensemble or fine-tuning the emotional weight of a solo Jathi, I treat my Gurgaon studio as a working laboratory. It is where we bridge the gap between academic research and physical movement, and where the most honest conversations happen before the lights ever go up.
There is a massive difference between what the audience sees and what it takes to get there. When I prepared for the ICCR tour to Russia, the reality was a logistical puzzle: 15 people to coordinate, tight rehearsal windows, and balancing a solo premiere at home. It was 10 a.m. to 8 p.m. rehearsals with dancers flying in from across India, relying on videos I shared to ensure that when we finally hit the floor, we were focused on chemistry and spacing rather than learning steps.
This is how I work. I don't believe in ivory tower productions. If you look at my studio, you will see a space where photographers, musicians, and dancers are all part of the same team. We share jokes, help with makeup, and debate how a piece of Sangam poetry should translate into Nritta. This collaborative friction is necessary. It is how we transform an intellectual concept—like exploring identity or the climate crisis—into something that resonates with an audience.
If you are coming to me with a concept, expect a process that involves research, storyboard development, and a fair amount of rigorous, disciplined practice. We start with the 'why'—the story—and build the dance around it. Whether it is a classical performance or a multidisciplinary production, the goal is always the same: to create something that feels real, grounded, and connected to our shared human experience.
Tanya Saxena
I am a dancer and a researcher who believes that movement is a way to ask questions about our world. I work with a collective of artists to turn concepts into performances that go beyond simple entertainment. If you are looking for a project that balances technical rigour with a story that actually means something, let’s talk.
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