Abhinaya & Bhava: The Soul of Storytelling
Dance is storytelling without words. Here, I focus on abhinaya, the art of expression, to bring characters like Radha, Sita, and Meerabai to life, translating ancient poetry into vivid, emotional moments on stage.
A clip from an Ashtapadi, where the sakhi describes Radha's sorrow in her separation from Krishna. My choreography for pieces like this focuses on 'sanchari bhava', where I explore the multiple facets of a single emotion, like the pallor of Radha's face and her motionless state.
Here, the world takes the form of Hari in the eyes of a devotee. The clouds become his body, the lotus his eyes. This clip from 'Abhilasha' is an example of how I use abhinaya to translate rich poetic imagery into a visual, emotional experience.
This is the story of Sita at her svayamvara, reliving the moment Rama effortlessly lifted the bow. My choreography here focuses on Sita's perspective, her awe, and the new poetry that her mind creates in that moment of love. I specialize in telling stories from a personal, intimate viewpoint.
The cowherds rejoice at the sound of Krishna's flute. This snippet from 'Abhilasha' shows my approach to portraying multiple characters and their reactions within a single piece, creating a lively and engaging scene through expressive abhinaya.
"Isn't he the most romantic one?" The nayika, or heroine, describes to her friend how Krishna compares her features to a lotus. This clip from the Madras Music Academy shows my focus on 'shringara' rasa, exploring the playful and romantic aspects of love.
"Her mind meditates on you." This is an excerpt from 'Radhika Tava Virahe', showing Radha's 'viraha' or state of separation. I choreograph these moments to show the full spectrum of longing, from hope and delusion to distress, creating a deeply moving portrayal.
This clip portrays Meerabai's unshakeable faith when she is sent a snake instead of a garland. My choreography here explores 'bhakti' as a powerful force that transforms poison into a miracle, focusing on the subtle shift from shock to a serene, knowing smile.
The eternal longing. This reclining pose from my solo 'Abhilasha' captures a moment of pensive waiting for Krishna. It shows how I use the entire body to convey a state of mind, creating a powerful, poetic image of 'viraha' or separation.
The eternal longing. This reclining pose from my solo 'Abhilasha' captures a moment of pensive waiting for Krishna. It shows how I use the entire body to convey a state of mind, creating a powerful, poetic image of 'viraha' or separation.
The eternal longing. This reclining pose from my solo 'Abhilasha' captures a moment of pensive waiting for Krishna. It shows how I use the entire body to convey a state of mind, creating a powerful, poetic image of 'viraha' or separation.
About Abhinaya & Bhava: The Soul of Storytelling
When I choreograph a piece, I look beyond just graceful steps. I start by mapping every micro-expression and gesture to specific lyrics, whether it is the sorrow of separation (viraha) or the joy of devotion (bhakti). My process includes providing a recorded video guide and detailed notations for hand gestures, ensuring you are not just learning steps, but learning how to inhabit the emotion of the character.
My work is rooted in the Natyashastra, but the heart of it lies in the storytelling. Many students and fellow dancers ask how to go beyond technical perfection to truly connect with the audience. The answer is usually found in Sanchari Bhava—the ability to explore the multiple facets of a single emotion.
Take the example of Radha's viraha, or separation from Krishna. It is not just sadness. It is a spectrum: hope, delusion, distress, and eventually, acceptance. When I choreograph these pieces, we break down the narrative into these distinct emotional beats. We look at how the body—from the tilt of the head to the placement of the fingers—can convey the weight of that longing. Whether we are portraying the quiet faith of Meerabai as she finds peace in a moment of crisis, or the awe in Sita's mind during her svayamvara, the focus remains on the internal state of the character.
I offer a structured approach to this, whether you are preparing for an Arangetram or just want to dive deeper into classical repertoire. We will explore the lyrics together, selecting sahitya that resonates with your personal performance style. My choreography service includes:
- Detailed conceptualization and selection of specific texts.
- Mapping facial expressions and hand gestures to word-to-word meanings.
- Integration of karanas to add structural depth to the emotional flow.
- A comprehensive video guide for your practice after our sessions.
I am based in Bengaluru and travel for projects, but I also love working from my studio at Mandala Cultural Centre. Let us talk about the stories you want to tell and find the right movement vocabulary to express them.
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