The Creative Process: From Research to Rehearsal
Behind the curtain, every performance begins with deep inquiry. Discover how I research, compose, and rehearse to transform ancient narratives into living Bharatanatyam theatre.
On the stage at NCPA Mumbai, setting up for "Antardweep." The moments before a show, feeling the space and running through the choreography, are crucial for a successful performance.
A rehearsal for my performance at Vishwamohini Devasthanam in Mumbai. This is where the dance is shaped and polished, in collaboration with the live orchestra.
A super rehearsal time with my team of musicians. The energy and creativity that flows during these sessions is what fuels the final performance. These are beautiful memories from Zapurza, Pune.
Gearing up for "Unmasked" in New Delhi. Rehearsing with the talented team of the Jyotsna Shourie Dance Company was a delight, exchanging thoughts and energy to retell an epic through a modern lens.
A rehearsal for my Margam in Mumbai. This particular number, a gift from Dr. S. Vasudevan, is a personal favorite, and the jamming sessions with the orchestra are where the magic begins.
A moment of quiet practice at the Neemrana Tijara fort palace. The space itself, with its history and architecture, becomes a part of the creative process.
From the green room to the stage, a glimpse into the transformation. Dance is what travels and transcends bodies and characters to finally return to the inner self. Dance to know yourself.
Mulling over a composition by Shri Bhadrachala Ramadas for over a year, it is finally manifesting as choreography. This clip shows a rehearsal for my Margam in Bangalore, working with a fabulous orchestra.
About The Creative Process: From Research to Rehearsal
My rehearsals are not just about perfecting steps; they are collaborative laboratory sessions with my live orchestra. We often spend months dissecting a single verse or philosophical concept, ensuring the abhinaya aligns perfectly with the musical raga. This integration is mandatory for me, whether I am preparing a complex Margam or a thematic production, as the jugalbandi between dancer and musician is where the true story takes shape.
I view my studio not just as a rehearsal space, but as a laboratory for intellectual investigation. When I begin a new project, the work starts long before I put on my ghungroos (anklets). I immerse myself in the Shastras, ancient poetry, and regional oral traditions to understand the emotional core of the narrative. Whether I am reviving a lesser-known legend or structuring a traditional Margam repertoire, the process is always research-led.
My collaboration with the orchestra is the heartbeat of my work. I do not perform to studio tracks. A live ensemble, including a vocalist, mridangam, violinist, veena or flute, and nattuvangam, is essential to my creative process. During these rehearsals, we engage in a continuous dialogue. We test rhythmic patterns and melodic phrasing to see how they heighten the bhakti (devotion) or the dramatic intensity of the piece.
From Neemrana Fort to major auditoriums in Mumbai, Bangalore, and Delhi, my work is built to be experienced live. Every movement, from the fine details of abhinaya to the power of nritta, is polished through this cycle of research, composition, and rhythmic jamming. If you are interested in hosting a performance that marries academic rigor with artistic performance, or if you want to understand the lineage of a specific production, I am open to discussing the technical and artistic possibilities.
Himanshu Srivastava
I am Dr. Himanshu Srivastava. I treat dance as a form of scholarship and a path to self-discovery, blending Chola-inspired lines with the raw intensity of Indian mythology. Every performance I bring to the stage is an honest conversation between my research and the present moment.
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