Bhavisha: The Heart Behind KAYA
For choreographer Bhavisha, Dance is not just movement; it’s imagination turned into magic. “Choreographing for me is just seeing my imagination come alive and the creation to showcase pure magic,” she says, with the easy confidence of someone who truly lives through her art.
Bhavisha’s journey as a Dancer and choreographer has always been rooted in curiosity and creativity. What began as a passion has evolved into a deep exploration of storytelling through movement, where technique meets emotion, and imagination finds rhythm.
Her creative journey, shared often through her work, reflects a spirit that’s constantly evolving, exploring new narratives, experimenting with form, and celebrating the power of Dance to move hearts.
The Birth of KAYA
The first spark of KAYA came from an idea, “an imaginary character who is like a goddess, but yet a human,” Bhavisha recalls. “Someone who is flawed, who explores every part of the body it had to be relatable.”
The process was organic and full of play. “It started with Mythilli and me just hanging around at Starbucks, as usual, talking about productive and creative things,” she laughs. “Gradually, we joined dots, rehearsed some numbers we always wanted to, without a storyline yet, and as we moved, the story, the acts, the concept started showing up.”
What they were sure about from the beginning was the use of three Dance forms. “Then came a lot of brainstorming, texting ideas at any time of the day or night, choosing the right songs, certain about from the beginning was the use of three Dance Forms and then the grand rehearsals, where we were still choreographing two or three pieces! We were nervous but confident we’d pull it off. And when we did, we were so relaxed, like, yeah, we’re in place!”
A Partnership of Trust
Working with Mythilli, Bhavisha says, made the challenges feel lighter. “See, with Mythilli being your Dancer, the challenges are not challenges anymore, because she’s a fabulous Dancer,” she smiles. “The only challenge I had was, how do I make it more challenging for her? How do I push her to embrace her strength more and showcase her full potential, yet keep the simplicity and grace she carries?”
KAYA evolved constantly. “It did change as we progressed. But that’s the beauty of it, it grew with us.”
A Journey of the Heart
For Bhavisha, KAYA is more than choreography. “It will always remain close to my heart because it’s the first of its kind that I choreographed. And with Mythilli being a part of it, how could it not be? It was a journey for me, too, from where I began my dancing to where I am today. KAYA is a prayer for me.”
She hopes audiences feel that prayer, too. “I hope the audience understands what we are trying to say, the Dancer’s journey, and feels serene after watching the show.”
Technique, Emotion, and Signature
Bhavisha describes her process simply: “Technique is body, emotion is expression. First, get your techniques in your muscle memory, and then feel the song, the vibe, the mood, your emotions will flow naturally.”
Her own signature style, she says, is woven into every detail, from costume to gesture. “With the outfit I got my own style, and there are some moves that may be weird, but that’s me, that’s my signature.”
She uses imagination to translate abstract ideas into movement. “Like, we used a ribbon to show getting tangled in emotional turmoil,” she explains. “It’s all imagination.”
Choreographing for the Dancer
Bhavisha believes choreography should fit the Dancer, not the other way around. “The choreography is set according to the Dancer. If it doesn’t suit them or they can’t perform it comfortably, what’s the point? It has to be comfortable in the Dancer’s skin.”
Her process is deeply collaborative. “I always let the Dancer create first, then I refine a few things, add or cut where needed. That’s how you keep it open, comfortable, and inclusive of the Dancer’s point of view.”
Completion, she says, is a feeling that arrives only at showtime. “You never really feel it’s complete till the show. But you trust your Dancer and your team, and that’s when you feel, yes, it’s ready.”
The Joy of Creation
“The Dancer’s effort, the audience’s smile, and the recognition of the creation, that’s the most rewarding part,” Bhavisha reflects.
Today’s digital world, she feels, has changed the choreographer’s space. “It’s easier now to get recognition through social media. But for classical styles like Bharatanatyam or Ballet, it’s still not the same as trending forms. That’s why we created KAYA, to educate people and make them grow fond of classical and contemporary takes on dance.”
In one word, how would she describe KAYA?She says, “Prayer.”
Warm Regards,
Nikita Rathod
Curriculum Development
The Junoon Foundation
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