Kathak Performance and Choreography Portfolio
A glimpse into the rhythm, grace, and storytelling of the Lucknow Gharana. From competition-ready solo pieces to group productions, this collection reflects the foundation and training I have received from my gurus.
This is a Paran composition set to Teentaal, a rhythmic cycle of 16 beats. I find that performing outdoors, surrounded by nature, adds a unique energy to the intricate footwork and expressive movements of Kathak.
Here, I am performing an abhinaya piece, 'Sab Ban Than Aai Shyam Pyari'. This composition is very close to my heart as it beautifully portrays a sakhi dressing up to meet her beloved Krishna, capturing the essence of devotion and anticipation.
I was deeply humbled and grateful to receive the Rashtriya Achiever Award for my contributions to Kathak. This recognition, made possible by the blessings of my gurus, inspires me to continue sharing this divine art form.
This is one of my dedicated students, Kashvi, who secured a prize at a national level competition. I choreograph specialized solo pieces for competitions, focusing on highlighting the unique strengths and expressions of each dancer.
This poster is for 'Ramasmaran', a full-length dance production for which I developed the concept and choreography. The piece is a Kathak depiction of Hanuman's devotion to Ram, a theme that allows for deep exploration of bhakti through dance.
This is a Krishna Gat Nikas in Rupak Taal, performed with my fellow dancers. The choreography portrays the graceful, playful walk of Lord Krishna with his bansuri, a beautiful piece I learned from my guru, Saswati didi.
Presenting a Thaat in Dhamar Taal, a 14-beat cycle. The Thaat is the opening movement in a traditional Kathak performance, establishing the mood with subtle, stylized movements of the wrists, neck, and eyebrows.
A moment captured during a chakkar, or spin, at a performance in Navi Mumbai. The flow of the anarkali and the energy of a live audience are two elements that make stage performances a truly surreal experience for me.
About Featured
Whether you are looking for a solo performance or training for a competition, my approach remains rooted in the Lucknow Gharana. I do not just teach steps; I work with you on the Abhinaya (expressions) and Nritta (rhythmic patterns) that bring a performance to life. For competition choreography, we go beyond the choreography itself to cover styling, stage presence, and the nuances of Taal that catch a judge’s eye.
My Approach to Kathak
My dance is a continuation of the tradition taught to me by Pandit Birju Maharaj ji and Saswati Sen Didi. When I work on a composition, whether it is a traditional Thaat or an expressive piece based on mythology, the goal is to maintain the purity of the Lucknow Gharana.
What I Bring to Your Project
- Technical Precision: Every piece is built on a foundation of rhythmic cycles (Taals). Whether it is a 16-beat Teentaal or a 14-beat Dhamar, we ensure the footwork and Bol recitations are mathematically precise.
- Expressive Storytelling (Abhinaya): Dance is a language. I help you master the subtle movements of the wrists, neck, and eyes to convey stories from mythology—such as Krishna’s leela or Hanuman’s devotion—so the audience feels the emotion behind the movement.
- Stage-Ready Choreography: For students and performers preparing for stages, I provide more than just the dance. We look at floor patterns, stage blocking, and costume consultation to ensure you look as polished as you perform.
Working Together
I offer support ranging from online sessions for specific compositions to in-person group training in Delhi and Mumbai. If you are preparing for a national-level competition, I guide you through the process of selecting the right track, editing music for tempo, and building a routine that highlights your unique strengths.
Garvita Sharma
I am Garvita. For me, Kathak is a conversation with the divine, a path shown to me with grace by my gurus, Pandit Birju Maharaj ji and Saswati Sen Didi. I bring that same dedication to every piece I create, whether we are working in the studio or preparing for the stage.
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