The natya element is very strong, even in your nritta. It’s not only the abhinaya which is talking, it’s also the nritta. So how do you explain your perspective? From what perspective do you conceptualize your pieces?I think there are two things in my training which have had that effect. One is my abhinaya training with Dr. Kanak Rele. She comes from the Kerala tradition of abhinaya. We were established dancers already practising Bharatanatyam, but she wanted the abhinaya training to come from the Kerala tradition. So if you see the sancharis, they have an elaboration which is different, even in the way we enact them. I also trained in theatre with a friend when I did quite extensive dance theatre works. I did spoken theatre with dance, and we created a movement then. I see the drama in the dance. I like it. Even when it’s musical, I see the dance and I also like to see how the nritta emotes.Read more in the site
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