More than 2,000 years ago, classical Indian dance stemmed from ceremonial dances. However, the true roots of this dance tradition transcend national, cultural, racial, and even species boundaries. They reach the very dawn of life.

What we call classical Indian dance today is an expression of these profound depths, arising in a specific place, within a specific culture, at a specific time. Yet behind bright makeup, colorful costumes, and intricate jewelry lies a common universal humanity. Our victories and defeats, joys and losses, love and pain—all of these are universal and resonate regardless of whether your home is in India or Lithuania. This dance, with its deep roots, seeks the secrets of primordial nature, stepping towards the shared humanity that connects us with invisible threads.

With my heart filled with the joyous excitement of my first solo debut, I invite you to travel together these threads.

Lina
Performer at the Rajyashree Ramesh Academy of Dance Theatre, Performing Arts, and Movement Research

THE ARTISTS

Rajyashree Ramesh

Performer, choreographer, teacher, and dance and movement researcher, Dr. Rajyashree Ramesh's distinctive performance style results from a six-decade-long exploration that interweaves Indian classical dance styles, yoga, Western contemporary dance, and academic dance studies.

Dr. Rajyashree Ramesh founded the Rasika Dance Theatre International, which has a branch in Lithuania. Based on a unique teaching methodology, Dr. Ramesh has nurtured several generations of professional dancers distinguished not only by their technical mastery but also by the depth of their emotional expression. She conducts her creative and academic activities in Europe, India, the USA, and other countries. The uniqueness and innovativeness of her work stem from a long-cherished synthesis of classical dance tradition and modern scientific research.

Dr. Rajyashree Ramesh is one of the first internationally recognized dancers to introduce classical Indian dance to Lithuania.

Lina Koreivaitė

Certified FasciaNatya Instructor and Performer at the Rajyashree Ramesh Academy of Dance Theatre, Performing Arts, and Movement Research.

Lina has been studying classical Indian dance for a decade, participating in various seminars and performances with the academy group both in Lithuania and abroad.

From 2021 to 2022, she deepened her knowledge in the special advanced programme developed by Dr. Rajyashree Ramesh, including CoreConcepts, FasciaNatya, and Speaking Eyes - Feeling Hands. These pathbreaking courses supplemented practical dance theory with new academic perspectives on the connection between classical Indian dance and modern neuroscience studies of emotions and feelings, as well as the role of connective tissue in conscious movement.

Since 2024, she has been conducting dance classes based on these learnings for beginners in Kaunas.

Bhavana Pradyumna

A Carnatic-style vocalist, dancer, author, and founder of the Indian Conservatoire in Paris (ICParis), Bhavana has received numerous awards for her contributions to the arts. After completing her musical education at the University of Madras in India, she is now dedicated to promoting classical Indian music, dance, and arts in France.

Bhavana collaborates closely with the Embassy of India in France and UNESCO on various projects.

In 2024, she curated the Indian cultural events with more than 250 artistic expressions at the Olympic Fan Zone as part of Olympics and Paralympics, earning recognition from Prime Minister Narendra Modi.

As a vocalist, she has participated in many classical Indian dance concerts across India, Europe, America, and Africa.

Nagpoojith B.R.

A mechanical engineer by profession and a musician at heart, Nagpoojith has been playing the Carnatic flute for over a decade, an art he studied at the Gokulam School of Music in Bangalore.

In addition to conducting Carnatic flute lessons, he actively participates in various musical projects across India and Europe.

Vidwan S.V. Giridhar

An acclaimed master percussionist, teacher, and lecturer, Giridhar boasts an impressive career spanning 57 years.

Hailing from a family of musicians, he began his musical journey at the age of 10. Two decades later, in 1987, he founded his own music academy, which has trained numerous professional classical music performers.

Throughout his extensive career, Giridhar has accompanied many renowned classical dance and music artists both in India and abroad, and has participated in prestigious music events in England, Switzerland, the Netherlands, and other European countries.

CLASSICAL INDIAN DANCE THEATER PROGRAM

— Pushpanjali (“Offering of flowers”)

An introductory piece designed to great the stage, the musicians, and the audience.

— Alarippu (“Flowering bud”) Rhythmic cycle (Tala): Khanda Chapu (5 beats); Choreography and musical composition: Tanjavur Quartet.

A rhythmical piece devoid of lyrical meaning, it features percussive syllables sung to echo the sounds of the drums, effectively 'voicing' the dance steps. The geometry of the dance 'frame' the space where the evening’s further items will unfold.

— Jatiswaram (Jati - choreographic elements set to percussive syllable compounds, swaram - musical notes of classical south indian music) a composition of musical notes (swaram) set to the choreographic elements (jati); Melodic structure (Raga): Thodi; Rhythmic cycle (Tala): Misra Chapu (7 beats); Choreography: Malavika Sarukkai; Musical composition: Sri Sitharama Sarma

A piece of greater scope, featuring more rhythmically and melodically complex choreography without any lyrical meaning.

— Sabdam “Sarasi Jakshulu” (liet. “Lotuseyed maidens”); Melodic structure (Raga): Ragamalika (”Garland of Ragas”); Rhythmic cycle (Tala): Misra Chapu (7 beats); Choreography: Pandanallur Minakshi Sundaram Pillai; Musical composition: Tanjavur Quartet

The first lyrical piece of a classical Repertoire, this particularly traditional Sabdam narrates several tales from the life of the god Vishnu, one of the three principal deities of the Indian pantheon, who descended to Earth in the 5th century BCE as the cowherd Krishna.

When the lotus-eyed maidens were bathing, You came.
After stealing all their beautiful clothes,
You climbed and watched them from a tree.
Is this truly appropriate?

When you found churned butter and buttermilk in the attic; 
You broke the pots and ate it all.
Do You genuinely think this is the right thing to do?

As the husband of the beautiful goddess Lakshmi,
You frolic with the maidens, teasing them without restraint.
Is this truly appropriate?

Though everyone laughs at Your pranks, my heart longs for You, and my eyes seek for You —
The one who hides in Mount Malaya. I praise and bow to You, Oh Vishnu.

— Varnam “Suma Sayaka” (“Suma - flower, sayaka - arrows; The god of love thst shoot lovers' hearts with arrows of blossoming flowers); Melodic structure (Raga): Karnataka Kapi; Rhythmic cycle (Tala): Roopaka (6 beats); Choreography: Pandanallur Minaksi Sundaram Pillai; Musical composition: King Swathi Tirunal

A central piece of great scope and complexity, where rhythmic, abstract, non-lyrical dance sections are combined with theatrical lyrical segments to elaborate on the longing of the main charachter, Nayika, for her divine beloved. It opens with the introduction of the God of Love, Sumasayaka, born from the union of the god Vishnu and his beloved goddess Lakshmi.

The second part tells the story of the main character, who waits for her beloved, the god Vishnu himself. She adorns her surroundings and herself, lost in memories of their past encounter.

In the third part, the main character confides to her close friend, Sakhi, sharing the heart ache with her.

The fourth part introduces the god Vishnu in his ten reincarnations: the Fish, who saved humanity from the flood; the Tortoise, who carried the Mandara Mountain on his back while the gods whipped up the elixir of immortality; the Boar, who rescued the kidnapped goddess Earth from the depths of the ocean; the Half-Lion Half-Man, who destroyed the demon king Hiranyakashipu to protect his devotees; the Dwarf, who transformed into a giant and reclaimed the three worlds from the powerful king Bali in three steps; the warrior Parashurama, who avenged his father's murder by slaying every warrior-king he encountered; the hero Rama, who defeated the ten-faced demon Ravana, who had abducted his beloved Sita; Krishna, who, hidden behind frivolity (illustrated by his dance with the cowherd girls), imparted lessons of duty, love, compassion, and the joys of life; Buddha, who taught the path of non-violence and renunciation; and the yet-to-come Kalki, who will end the era of Kali, age of strife, chaos, and evil with his flaming sword.

The fifth part depicts the longing of the main character’s heart, wounded by the arrows of the God of Love, reflecting her pain of separation. Unable to bear the heat of her burning heart, she implores her friend to bring a message to her beloved, beseeching him to come to her as soon as possible. The piece concludes in a state of waiting.

O Vishnu, the lord of fortune, the father of the most beautiful Sumasayaka (the one carrying flower arrows) and consort of beautiful Lakshmi!

The one, who lies in a bed adorned with the most exquisite jewels, memories of love for You haunt my heart endlessly.

This time, the heart wounded by Cupid's arrows, is of great pain for me.
O lord Vishnu, from whose navel sprouted the lotus that gave birth to earth, heaven, and the whole universe!

—15-MINUTE INTERMISSION —

— Ashtapadi “Pashyati Dishi Dishi” (liet. - pashyati - to look, search, dishi dishi - here and there); Melodic structure (Raga): Vaasanti; Rhythmic cycle (Tala): Misra Chapu (7 beats); Choreography: Lina Koreivaitė; Author of the poem: Jayadeva

The excerpt taken from the poem of "Gita Govinda", the 12th Ashtapadi (eight couplets) becomes continuation of the Varnam plot, where the main heroine's friend reaches Vishnu, who is depicted as Krishna (one of the Vishnu incarnations). She expresses the pain of loss and longing that His beloved is enduring and prays for Krishna to come to her as soon as possible.

Oh lord of the worlds, oh destroyer of sins, Radha is engulfed in the sorrow of waiting; she seeks You and Your nectar-like lips.

While admiring her jewelry, she unconsciously rearranges it to resemble You. Gazing at her reflection, she proclaims, ‘I am Krishna.’

She searches for You in the dark night, enveloped by swirling clouds. Oh lord of the worlds, oh destroyer of sins, lost in the darkness, Radha yearns for You and Your nectar-like lips.

— Procession of Joy Choreography: Lina Koreivaitė

A joyous procession accompanied by a vibrant array of musical instruments and dance, leads Krishna to His Beloved. The composition introduces the movements of Bhumi Chari (meaning 'earth movement'), where the feet(s) remain in contact with the ground, and Akashi Chari (meaning 'air movement'), in which one foot stays grounded while the other gracefully moves through the air.

— Tillana Melodic structure (Raga): Desh; Rhythmic cycle (Tala): Adi (4 beats); Chorepograhy: Rajayshree Ramesh; Musical composition: Unknown author

The final rhythmic piece "closes" space of the stage through intricate movement and geometry. Movement, rhythm and melody become an integrated whole, conveying the message of all being the Absolute One. At the culmination of this performance, verses are performed, dedicated to the goddess of happiness, Lakshmi.

an umbrella term that encompasses a variety of performing arts rooted in the ancient performing theater traditions of India. These dances are based on the principles outlined in the Natya Shastra (literally translated as "Science of Drama Theater"), a seminal text written between 500 BCE and 500 CE

CLASSICAL
INDIAN
DANCE

Kathak style traces its roots to the nomadic bards known as Kathakaris (meaning "storytellers") in Uttar Pradesh. The art flourished during Mughal rule from the 16th to 19th centuries, distinguishing it as the only classical Indian dance that exhibits a significant influence from Persian culture.

Sattriya dance, originating in the 15th to 16th centuries in Assam, began as a theatrical form of preaching performed exclusively by male monks. However, in the 20th century dance transitioned to the stage, allowing women to perform as well. Among classical Indian dance styles, Sattriya was officially classified as a classical form in 2000.

Originating from the state of Manipur, the Manipuri style is a blend of classical dance as described in the Natya Shastra and folk traditions. It is characterized by gentle, fluid movements. During British colonization, Manipuri was the only dance style permitted for girls and women of the Indian nobility to practice.

From the state of Odisha, the Odissi style was traditionally performed by women at various temple ceremonies. Archaeological findings suggest that this dance form was popular as early as the 9th century, with evidence indicating it may have been practiced even earlier.

The predecessor of Kuchipudi, which originates from Andhra Pradesh, is believed to have been practiced from the 10th to the 15th century. Generally, men performed this style in both male and female roles. Now the dance is performed by men and women.

Bharathanatyam style, originated from Tamil Nadu, can trace its roots back to the 2nd century BCE, with temple sculptures pointing to its practice as early as the 1st century. After undergoing various bans and transformations, this dance style was promoted in 1930s in the course of India’s independence movement. It has since spread beyond India and became one of the most popular classical dance styles. Tonight this dance style is being showcased.

Mohiniyattam hailing from Kerala, is a style traditionally performed solely by women. Although there is no definitive record of its inception, sculptural depictions of dance poses found in 11th-century temples suggest that this tradition was likely practiced even earlier. Due to its soft, feminine movements and expressions, this dance faced criticism during British colonization, being deemed vulgar. Nevertheless, dancers continued their performances in temples until India achieved independence.

Kathakali from the state of Kerala, distinguishes itself with its vibrant costumes, elaborate makeup, theatricality, and incorporation of South Indian martial arts elements. The precise origins of this style remain unclear, but the form practiced today began to take shape around the 17th century.

Dancing hands, Cosmic dance and a few other secrets of dance theatre...