Bharatanatyam Choreography & Rehearsal Process
The stage performance is just the final chapter of a long journey. Here is a glimpse into how I craft my work, from the first spark of an idea to the final studio rehearsal.
Here I am in my studio, sharing the concept behind a new work, "Shwasa Vishwasa." This is where the ideas begin, exploring themes of connection and companionship before they ever reach the stage.
A look inside a rehearsal in Columbus, Ohio. We are crafting a program on Devi for an exclusive performance with a live orchestra, a process that involves intense collaboration and dedication.
Rehearsing with my musicians for the Guru Kelucharan Mohapatra Annual Festival. This process of syncing the dance with the live music is crucial for a seamless performance.
Preparing for "VANI," a homage to the goddess Saraswati. This rehearsal footage shows the initial stages of choreographing and setting the movements to the music.
A quick invitation and a glimpse of rehearsal for the Madras Music Academy Dance Festival. The studio is where we put in the hours to perfect every detail before the main event.
Rehearsing in New York for the Dancing the Gods festival. It's always a pleasure to work with wonderful musicians, both local and those who travel with me, to create something beautiful.
Inviting rasikas to "Vaageya Manjari," a performance with my students. This clip shows us rehearsing together, exploring the compositions of great Vaageyakaras.
About this collection
For me, the stage performance is only the final step of a long journey. My rehearsals are rarely solitary affairs; they are intense, collaborative sessions with my ensemble and musicians. We spend hours syncing the footwork with the mridangam and flute, because I believe the energy of a live orchestra is what truly completes the movement, not just the dancer.
Behind the Movement
Art is Shwasa Vishwasa, or life breath, for me. When I am in the studio, whether it is for a solo Nayaka-centric piece or a grand ensemble production, the process is consistent. We start with the core emotion or concept—be it the complex feelings of a father in a Nindā stuti or the climate themes in 'Ṛtu Vismruti'—and build the vocabulary of movement around it.
The Role of Live Music
I rarely practice or perform to recorded tracks. My rehearsals involve a live orchestra—vocalist, nattuvangam, mridangam, and flute. This interaction is crucial. The musicians respond to my footwork, and I adapt to their rhythm in real-time. This dialogue between the dancer and the Carnatic ensemble is the heartbeat of my work. It creates a space where improvisation happens, ensuring that no two performances are exactly the same.
My Workshop Approach
When I conduct workshops or train my students at Chithkala, I focus on the same rigour. We do not just learn steps; we explore the 'why'. We dive into the Tanjur quartet repertoire, discuss the poetry of Kalidasa, and ensure that every student understands how to hold the space.
Preparing for Your Event
When you see these photos from my studio, you are seeing the effort that goes into ensuring your event is not just a show, but a meaningful experience. Whether we are preparing for a festival like the Madras Music Academy or a private recital in Bengaluru, the commitment to authenticity remains the same. If you are looking for choreography that respects the nuances of Carnatic music and carries a deep, emotional narrative, this is where we begin.
Praveen Kumar
Namaskara. I am Praveen Kumar. For me, teaching, performing, and choreographing are not separate tasks; they are all one family pack. I believe in the magic of live music and work with my ensemble to ensure every performance feels alive, whether we are in a studio or on a festival stage.
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