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MISSION & VISION...

Yamini Says...
Yamini is an artist who is both deeply traditional, but also flirts with the avant-garde in an effort to evolve her 500+ year-old tradition of Kuchipudi dance. Also trained in Carnatic music, a major focus within Yamini's creative practice is holistic choreography and composition, which she undertakes in an effort to further activate my visual storytelling. Yamini works within traditional and experimental repertoire, much of which is her own creation. 

Yamini's approach to choreography/performance is about drawing from her traditional dance background/Kuchipudi vocabulary, to tell contemporary stories relevant to diverse audiences. Also a graduate of the Martha Graham School, Yamini combines her Kuchipudi training with certain aspects of ballet and modern dance technique, to find the right biomechanics and range of motion to support her original style.
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In a world that constantly pressures dancers to be more “experimental,” it is important to Yamini that she is not to be mistaken as a fusion artist. While Yamini regularly challenge its norms, she remains grounded in an ancient tradition. Yamini's creative process is inextricably linked to the very essence of her being.

What are We Doing...

We are rigorously training and investing our time in learning Kuchipudi and its rich history. We present to you an integration of both of our modern dance training and Kuchipudi training we receive from Yamini. Yamini Kalluri, the Director of Kritya Dance Ensemble, is launching her own style and philosophy of dance through the company dancers who have joined her in this mission. Her own background in both Indian and western techniques of dance has given birth to her unique expression of dancers which is presented by her and the dancers of the respective ensemble. By collaborating with various different musicians from the Kritya Music Orchestra and other musicians from myriad traditions all over the world, we honor and credit their contributions and inspiration they have lent in creating the present day Contemporary and Modern Dance Pedagogy and aesthetics.

As we share this new expression of dance to the whole world, Yamini who is also part of the Kritya Ensemble makes sure every year she also presents her traditional Kuchipudi dance repertoire as an homage to her roots and tradition. Kritya Dance Ensemble is not only a laboratory for experimentation but also a sanctuary and conservatory to preserve Kuchipudi in its traditional form while helping it evolve to serve the present generations from across the globe.

Who are We & Where are We Based...

We are full time professional Modern dancers under the supervision of Yamini. We are all based in New York City. We are dedicated to the mission of understanding and immersing ourselves in Kuchipudi. We are of African, Native American, Indian and European descent. ​

When did We Begin...

The Dance Ensemble has come to life after Vijay Gupta, a world class violinist has seen Yamini’s choreographies to Reena Esmail’s compositions which were commissioned by Connecticut Ballet. Deeply impressed by Yamini’s creations Vijay Gupta has decided to commission Yamini to present her choreography with seven other Modern Dancers to the piece, “This Love Between Us”, a composition by the world renowned composer, Reena Esmail. Yamini saw this opportunity as a beginning to her cross-cultural, music and dance collaborations on a larger scale. As a Dance Ensemble, Yamini envisions seeing Kuchipudi being celebrated on prestigious venues internationally. Yamini believes a big initiative such as this dance ensemble will hold her accountable to keep creating new works generously to uplift Kuchipudi but also share her unique bridge between Indian classical Dance and many dance traditions from all over the world. ​

Why Modern Dancers...

The Ensemble has been created with the intention to create a new quality of Indian classical movement with the help of trained modern dancers. Modern dance and Kuchipudi have many elements in common when it comes to articulation of the torso and hips. One of the aims is to identify similarities and clarify the relationship between the two styles. It is common that Kuchipudi and Indian classical dancers are not educated in proper alignment, appropriate muscular engagement, strength and flexibility techniques. Indian school of thought engages thoroughly in the exploration and application of the expressions, emotionality and mythological/spiritual themes of dance while commonly the physicality of dance takes a back seat. 

Furthermore, it is uncommon for south asian dancers trained in Indian classical dance styles to also have training or background in western classical styles. This may be due to several reasons including intimidation, fear of exploring new styles and hesitancy to engage in rigorous dance training or pursue dance as a career. For this reason Yamini has decided to explore other options in engaging modern dancers in this initiative.

In Yamini's experience of teaching Kuchipudi master classes to modern and contemporary dancers and witnessing the high quality of movement she began to envision that sort of refinement brought to Kuchipudi. This will not only provide an opportunity to explore the refinement of the style but also work to further formalize the Kuchipudi style. This can possibly help to establish Kuchipudi as a widely recognized dance form in the west where it might even be considered as part of the curriculum in western dance education in the same way we see Indian classical music in western music education.
"I am an Indian woman born in the US, but raised in India. I have an Indian accent that causes many to assume I am an immigrant.  When questioned about my identity, I often feel at a loss of words to explain its complexity. Rather, it is in my creative process of blending Indian and Western dance vocabulary that I find solace and a sense of justice as an Indian American artist. Just as my English has an Indian accent, my Western dance work carries a heavy Kuchipudi aesthetic. As tempting as it can be at times to loosen my identity and even whitewash myself, everyday I choose to stay loyal to Kuchipudi as I wander the wilderness of NYC by being rooted in my own tradition as I experiment with Western dance techniques, I want to let my Asian American artist colleagues know that they can indeed make an indelible mark in the NYC Art world, while also remaining true to themselves. I have quite a few Asian American friends who practice traditional dance forms from their respective cultures, but see this as a professional dead end. I want to change this narrative and loss of creative identity by showing what is possible when we remain true to ourselves."

Yamini Says...

“After studying ballet and Graham technique, I feel like I have completely transformed into a much stronger and physically liberated dancer. I have more range of motion and I understand the correct techniques for refined movements and injury prevention”