Multidisciplinary Bharatanatyam & Cultural Fusion Performances
My dance is a dialogue between worlds. From Rabindranath Tagore’s poetry to Western classical flute, I create performances that blend the structure of Bharatanatyam with unexpected narratives.
A moment from my collaboration with a Western flautist, where we explored Debussy's 'Afternoon of a Faun'. I drew inspiration from the legendary dancer Vaslav Nijinsky's revolutionary ballet to create a fusion of Bharatanatyam and Western modern dance concepts.
Another still from the Indo-French project, showing the dynamic between the musician and the dancer. My goal in such collaborations is to find a shared language that transcends cultural and artistic boundaries.
This is an excerpt from 'Yami', a dance theatre production where I interpreted the character of Nora from Ibsen's 'A Doll's House'. It's an example of how I use Bharatanatyam to explore characters and themes from Western literature.
A performance from 'Sonar Bangla', a production celebrating the cultural landscape of Bengal. Here, we interpret the region's famous boatman songs, or 'Bhatiyali', through the vocabulary of Bharatanatyam.
From practice to performance, this video shows the evolution of a piece from 'Sonar Bangla'. It highlights the process of adapting the fluid, earthy feel of Bengali folk traditions into the structured form of classical dance.
A studio shot from a production dedicated to Rabindranath Tagore. Collaborating with other artists to interpret his 'Gitabitan' was a deep dive into the seamlessness of his words and music.
Another moment from our Tagore rehearsals. These collaborations are built on hours of research, discussion, and practice, resulting in a deep artistic friendship and a richer final performance.
About this collection
Fusion is rarely about simply mixing two styles together, as that often ends up feeling shallow. My approach is rooted in months of research—whether I am interpreting Nora from Ibsen’s 'A Doll's House' or exploring the boatman songs of Bengal. I spend hours analyzing the music and literature to ensure the movement has an internal logic. When we collaborate, we start by defining the story we want to tell, so the performance feels like a living, breathing conversation rather than a rehearsed routine.
Art should not exist in a vacuum. My practice as a Bharatanatyam dancer is deeply influenced by my interest in history, literature, and cross-cultural dialogue. When I take on a fusion project, I aim to find the shared emotional space where different traditions intersect.
For example, in 'Sonar Bangla', I explored the cultural geography of Bengal. I did not just perform to Bengali music; I studied the nuances of the 'Bhatiyali' boatman songs and adapted them into the strict geometry of Bharatanatyam. It requires a willingness to let go of rigid definitions and focus on what the music actually demands of the body.
I have collaborated with Western classical flautists to reinterpret Debussy’s work, and with theatre directors to explore the character of Nora from Ibsen’s 'A Doll's House'. Each project involves:
- Conceptual research into the source material—be it poetry, theatre, or a specific piece of music.
- Artistic direction that balances the classical structure of my training with the requirements of the new medium.
- A technical plan for the performance, including lighting cues, sound design, and stage movement.
If you are looking for a performance that moves beyond traditional boundaries, I am interested in hearing your vision. Whether you have a specific theme in mind or are looking for a completely new narrative, we can build a production that combines the rigour of Bharatanatyam with the richness of other artistic forms. Let us create something that respects both traditions while forging a new path together.
Tanya Saxena
I treat every performance as a piece of research. My dance is not just steps, it is a conversation between history, literature, and the body. I am always looking for people who want to push the boundaries of what Bharatanatyam can say.
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