Featured Bharatanatyam Productions and Classical Repertoire
Bridging ancient myth with contemporary questions. A collection of research-backed Bharatanatyam productions and traditional Margam recitals.
This image captures the essence of my production, "The Abandoned Gopi." It delves into the profound story of Lord Shiva transforming himself to witness Krishna's divine Raas Leela, exploring themes of surrender and identity. This work is the culmination of extensive research into the folklore of Vrindavan.
Presenting "Un-Eklavya," a production that re-examines the story of the tribal warrior from the Mahabharata. Through this piece, I question our modern battles and the sacrifices we choose to make, exploring the idea of a spirit that lives beyond physical limitations.
This poster announces my performance of two signature productions, "The Abandoned Gopi" and "Shikhandi," at the prestigious Nita Mukesh Ambani Cultural Centre. Performing at such a venue was an honor, allowing me to share these transformative tales with a discerning audience in Mumbai.
A moment of intense emotion from "Shikhandi: The Inner Quest." This production is my exploration of a powerful warrior who transcends conventional notions of gender, a story of revenge, despair, and ultimately, self-acceptance that holds deep relevance today.
Here you see a glimpse of a traditional Margam recital, the complete classical Bharatanatyam repertoire. For me, the Margam is a space to honor the purity of the form, often presenting rare compositions alongside celebrated classics to offer a fresh experience.
A powerful moment from "Antardweep," a collaborative production with Dr. Prachi Mehta Jariwala. This duet explores the concept of the body as a temple, blending the forms of Bharatanatyam and Odissi to create a unique dialogue between two classical dance styles.
Performing "Shikhandi" at the Delhi Literature Festival. It is always a profound experience to connect the literary and philosophical roots of my work with audiences in a setting that celebrates the power of words and stories.
This is a personal, intimate moment of practice, singing the Balamukundashtakam. Sometimes, the most profound connection to the art happens not on a grand stage, but in the quiet solitude of my own space, where I can dance and sing for myself.
About Featured
Every piece you see here begins with a deep dive into the shastras. Whether it is a contemporary production like Shikhandi or a traditional Margam, I insist on a live orchestra because the dialogue between the musician and the dancer is where the true rasa is born. You are not just booking a performance, but a conversation between ancient poetry and modern movement.
My Artistic Approach
I see Bharatanatyam as a way to blend scholarship with performance. My process is never just about learning the steps. I research sculpture, philosophy, and old texts to understand the core of the story before I ever step onto the stage. Whether I am performing in Delhi, Mumbai, or Chennai, my focus remains the same: to find the meeting point between deep research and the instinct of dance.
Core Productions
My work typically falls into two categories. The first is my Signature Thematic Productions, where I explore lesser-known narratives. Pieces like Shikhandi, The Abandoned Gopi, and Un-Eklavya challenge the audience to look at mythology through a contemporary lens. These productions are theatrical, supported by a 5-piece orchestra, custom lighting, and original compositions.
The second is the Traditional Margam, the complete classical experience. From the invocatory Pushpanjali to the concluding Tillana, these recitals are designed for both the connoisseur and the new viewer. I often blend rare compositions with timeless classics to ensure that even seasoned rasikas find something new.
What to Expect
- Live Ensemble: No recorded tracks. Every performance, from the smallest guest appearance to a full-length production, is supported by a live musical ensemble (vocalist, mridangam, violin, and nattuvangam).
- Customization: I often provide brief English or Hindi introductions to contextualize the mythology, helping the audience connect with the narrative before the dance begins.
- Logistics: I am based in Delhi NCR but travel extensively for performances. My team and I handle our own transport requirements for local shows, making the booking process straightforward for organizers.
Himanshu Srivastava
I am Dr. Himanshu Srivastava. My life is a constant dialogue between the scholar and the dancer, trying to find where ancient mythology meets our reality today. I don’t just dance; I tell stories that matter, whether it is through a traditional Margam or a piece on identity and gender.
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