The Creative Process Behind My Choreography
A look at the unseen side of my Bharatanatyam work. See how I turn personal philosophies and everyday moments into stage performances through deep research and collaboration.
My 2023, unfiltered. This video is a compilation of my year in dance, from studio rehearsals and puppetry work to stage performances. It shows the diverse journey of losing and finding myself in art, a process I bring to every new choreography.
A tribute to Shri Rama, whose story has been a guiding light in my life. This clip from a performance shows how my personal 'bhakti' and the stories I grew up with are woven into the fabric of my choreography.
The bliss of dancing for the gods in Hampi. This photo captures a moment of connection between dance, devotion, and a sacred space. I often draw inspiration from history and nature to create site-specific or thematically rich choreography.
The bliss of dancing for the gods in Hampi. This photo captures a moment of connection between dance, devotion, and a sacred space. I often draw inspiration from history and nature to create site-specific or thematically rich choreography.
About The Creative Process: My Dance Journey
Every piece I create begins long before we step onto the floor. We start by unpacking the Sahitya and Sthayi Bhava, treating the literature as the foundation of the movement. My approach is deeply collaborative, where we decide together how to map karanas and gestures to ensure the choreography feels like a natural extension of the story you want to tell.
I believe that good choreography is not just about technical precision; it is about finding the 'maja' in the movement. My creative process is rooted in the Natyashastra, but it draws heavily from the raw, human moments I observe daily. When we work together, you will see how I weave these observations into technical structures.
If you watch my rehearsal footage, you will notice that I do not just focus on footwork. I focus on 'azhutham' (groundedness) and the emotional narrative. Whether it is a solo piece or a thematic group production, I prioritize this depth. For those interested in something truly distinct, I also experiment with puppetry fusion, bringing a piece of my family heritage into the classical framework. We will spend time on research, movement mapping, and finally, refining the abhinaya to make sure the performance is not just a display, but a genuine offering.
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