The Art of Choreography: Process and Innovation
For me, choreography is more than movement; it is a bridge between ancient tradition and the stories we live today. Here is a glimpse into how I deconstruct rhythm and weave movement to bring these narratives to life.
I developed 'Desi Marga Adavu' during the pandemic, a new vocabulary integrating Bharathanatyam adavus with movements from the Natyashastra. This choreography tool allows for fresh expressions, as seen in this piece on the enchanting little Krishna.
Choosing the right colors and fabrics is a crucial part of our creative process. The visual energy of a costume enhances the performance, and I take great delight in this activity that adds so much value to our dance.
The 'Tihai' in Kathak is a rhythmic conclusion, and holding a beat in the air instead of stamping it is a beautiful, playful technique. This requires a fun interplay between the heels and the sole, adding a layer of subtlety to the footwork.
Building a musical or dance phrase often starts with simple counts. I find it fascinating to see how these basic building blocks can be developed into interesting tunes and movements by creative minds. I encourage all young artists to explore this process.
We recently wrapped up an amazing project with the celebrated tabla maestro Bickram Ghosh. It was inspiring to witness his passion and dedication while creating incredible music for our new choreography. This is a glimpse into that collaborative magic.
As a dancer and choreographer, I am thrilled to share the captivating concept of 'Dohada' this Spring season. This masterclass series, inspired by the connection between nature and women's emotions, will explore this tradition through Natyashastra and Bharathanatyam movements.
The tradition of passing knowledge from Guru to student is deeply fulfilling. Here, I am teaching a beautiful jathi composed by my Guru, Dr. Padmasubrahmanyam, for the Kalinga episode, integrating graceful Karanas from the Natyashastra.
We created this out-of-the-box piece 15 years ago, and it still feels fresh. By juxtaposing dancers, using unique costumes, and creating interactive rhythmic segments, we pushed the boundaries of traditional Kathak choreography.
The transformation of a simple fabric into a full Bharathanatyam costume is a gorgeous process. This is the final look for our student Mihika, a result of careful selection of colors and design to bring the character to life.
About The Art of Choreography: Process & Innovation
I don't just choreograph steps; I build them from the ground up using a system I developed called Desi Marga Adavu. It integrates traditional Bharathanatyam footwork with upper-body Nritta Hastas from the Natyashastra. This approach lets us break away from standard patterns to create something that feels both ancient and entirely new for every project, whether it is for a solo debut or a large-scale theatrical production.
The Foundation of Movement
Choreography is where music, literature, and movement converge. My goal is to spark Rasa, or aesthetic delight, in the audience. By developing new movement vocabularies like Desi Marga Adavu, I provide my students and dancers with the tools to express complex emotions that classical forms alone might not capture. Whether I am working on a solo Arangetram or a large ensemble piece, the process begins with scholarly research and a deep understanding of the theme.
The Collaborative Process
A performance is never a solo effort. It involves close collaboration with literary scholars to select authentic lyrics and renowned musicians to create original scores. When I work with masters like Bickram Ghosh, it is about finding the soul of the music and letting that dictate the rhythm of the dance. We layer audio, design costumes that enhance the visual energy of the stage, and write lighting scripts to ensure the audience sees every nuance of the performance.
Why Process Matters
- Conceptualization: We start with storyboarding, ensuring the narrative arc is clear for a large stage or a ballroom setting.
- Technical Precision: For group productions, we focus on intricate geometric patterns and synchronization drills, while for solos, the emphasis is on Abhinaya (expression) and theatrical projection.
- Adaptability: Whether you are a professional seeking a grand production or an enthusiast starting your dance journey, my approach adapts to your skill level. We utilize the depth of the stage and intentional formations to make every performance memorable.
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