Vyuti currently has two productions – The ‘Vyuti Margam’, a shorter production and Valayasya, Vyuti’s full length production. The ‘Vyuti Margam’ consists of 3 pieces from the Vyuti repertoire – Natyrambha, Antaram and Revati. ‘Valayasya’, currently in the process of completion, consists of two additional pieces – Viniyoga and Sakhi.


Natyarambha is an exploration of a traditional Alarippu. What happens to the alarippu when it is performed with multiple dancers as one body? How do the dancers and the piece negotiate with the choreography of a traditional alarippu? Natyamrabha explores this negotiation between the multiple and singular, remaining faithful to the technique of a traditional alarippu. Natyarambha is the first piece of a short production called ‘The Vyuti Margam’, which explores the nritta aspects of a traditional solo Bharatanatyam repertoire.


Antaram, also a part of the Vyuti Margam, is Vyuti’s take on a jatiswaram. Relying for percussion solely on the stamping of the dancers’ feet themselves, Antaram uses several contemporary contact techniques including lifts and giving and taking of weight to enhance the interweaving aspects of the piece.


Revati, hailed as Vyuti “at its interactive best” by the Hindu’s Friday review, is the interpretation of a Tillana, which is the concluding finale’ of a bharatanatyam margam or repertoire. Here the dancers explore contact and interaction through the korves and jatis of a Tillana. Revati is the concluding piece of ‘The Vyuti Margam’


This piece explores the aspects of Bharatanatyam that enhance the form as a whole. Meaning ‘to build’, Viharati focusses more on the building blocks of dance, rather than the finished choreographic sequences. Viharati explores the vocabulary of the Mudras or hand gestures as well as some other building blocks or elements of dance through the interacting multiple Vyuti dancers.

You can view a glimpse of the work above here.


The only piece that focusses more on abhinaya or facial expressions than nritta or pure dance, ‘Sakhi’ investigates the relationship and interaction between the nayika or heroine and the sakhi or friend. An underestimated but crucial character in the narrative of dance, where focus usually lies in the relationship between different nayikas and their nayakas, this piece examines the role of the Sakhi in how she reacts, interacts and sometimes even facilitates the relationship between the hero and heroine in traditional narratives.


The preview of Sakhi can be viewed here.

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Sanjeet Kathuria
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