Works by Kritya Music Orchestra & Kritya Dance Ensemble
Bhu SuktamFrom the Natya Shastra and Rig Veda
In Sanskrit Concept & Choreography: Yamini Kalluri Musical Arrangement: Yamini Kalluri & Rohith Jayaraman This piece is dedicated to Mother Earth, drawing inspiration from a hymn in the Rig Veda. I first choreographed this during the pandemic as a gesture of both apology and gratitude to Mother Earth, for teaching me the profound lesson of humility and mindfulness—that I am but a tiny part of her vast creation, and must never take her for granted. The inspiration for this choreography comes from the iconic film Sapthapadi, where the heroine, a Kuchipudi dancer (played by Sabitha Bhamidipati), performs a Vedic chant in a temple. The impact of that scene, which left an indelible mark on me as a child, moved me to create a piece that could reflect the same grandeur and reverence. As dancers, we are always connected to the earth; we begin and end our practice by paying homage to Bhu Devi. This sacred act of gratitude inspired me to create this work. Yamini's Interpretation: The first two verses are drawn from the Natya Shastra, and they read: "Oh Mother Earth, manifested by Vishnu’s divine power, you are vibrantly adorned with innumerable colors beyond my imagination. Just when I think you are simply plain mud, you astonish me with the hidden gems in your womb. You, who are full of mysteries and abundance, I bow before your magnanimity." "Once again, you amaze me with your infinite wonders. The oceans are your flowing robes, and the mountains your breasts. As I dance, I realize I am pounding on you, causing harm through my selfish actions. For all this damage, I humbly beg your pardon." This sincere invocation is followed by the chanting of the hymn Bhoo Suktam. My approach to the rhythm is abstract, yet grounded by a subtle metronome, reflecting the fluidity of the piece. "Adithi, you are not just the soil beneath my feet or the skies above, but also the vast space in the heavens that I cannot comprehend. The fire in your belly both consumes and nurtures, providing us with sustenance. The sun illuminates you, and the divine sound vibrations of creation echo within you. With each sunrise, you are renewed, and the sun’s movement creates a radiant firmament above you. If I have harmed you through my wrongful actions, I will rekindle you through sacred fire rituals. What was scattered in chaos, the Devatas have always gathered to restore balance. May the ghee of this offering bring clarity to my mind, and may the scattered flames come together in a harmonious yagna. Let Brihaspati, the great sage, invoke Bhu Devi to dance in joy as we restore balance to the world." |
Dhanyasi Padavarnam (Swathi Tirunal)In Sanskrit
Concept & Choreography: Yamini Kalluri Musical Arrangement: Yamini Kalluri & Rohith Jayaraman This piece portrays a passionate young woman deeply in love with Lord Vishnu, who, after captivating her with his divine allure, has abandoned her. Yamini’s Interpretation: "Oh Vishnu, it was you who awakened this overwhelming desire in me, and now you have left me. I have no one but you. Your celestial and enchanting form has ensnared my heart." In this piece, I’ve taken the artistic liberty of weaving in the Dasavatara, the ten incarnations of Vishnu. The heroine is expressing, "No matter which incarnation you take—whether as a fish, a lion, a dwarf, a married man, a man with 16,000 partners, a monk, or a king too preoccupied for me—even if you appear to me in a female form, I am irresistibly drawn to you. Isn’t it remarkable that, in every lifetime when you reincarnated, I was also there on Earth, falling in love with you, again and again? I know it’s you, my Padmanabha, in every form you take." "Consumed by desire and lost in longing, I surround myself with fragrant roses blooming in my garden. Each petal that brushes against my skin reminds me of the moments when we made love endlessly. Weren’t you the one who promised to marry me? As I apply kasthuri (musk) to my body, the scent takes me back to the times when you were eager to be with me. Your absence now fills me with doubt—have you moved on to another woman? My heart aches at the thought." As the piece progresses, the heroine becomes more agitated, her longing turning to frustration, and she demands answers from Vishnu: "My Lord, is this how you should treat me?" "The looks you gave me, the whispers in my ear, the soft touches—they have cast a spell on me. Who else could commit such divine deceptions?" "You answer the prayers of sages and saints, but why do you ignore my desires? No more sweet words—just look at me, cleanse me of my sins, and let me worship your feet like the great devotees." "Is this truly how you should treat me?" "I am in despair—please, protect me now. I have no one but you, my special one, the one with the lotus sprouting from your navel." "Oh Vishnu, you are the one who ignited this intense longing in me, and then you left. Why?" |
Rageshri Tillana (Lalgudi Jayaraman)In Telugu
Concept & Choreography: Yamini Kalluri Yamini's Intention: "As I delve deeper into the aesthetic beauty of Kuchipudi's movements and the fluidity of the dancing silhouette, I also seamlessly blend in my ballet influences to craft this piece. This is an abstract work, dedicated to the Lord of Dance and Destruction, Shiva. Through this piece, I celebrate the versatility and dynamism of Kuchipudi's movement vocabulary, which is paired with a mesmerizing and repetitive musical arrangement. The contrast between the ever-evolving dance and the recurring musical rhythms reflects the metaphysical ideas I explore during my choreographic process." |
Lehra - Raag DurgaConcept & Choreography: Yamini Kalluri
Music Composition: Yamini Kalluri & Kishan Patel Yamini's Intention: This Lehra is an abstract choreography dedicated to my late grandmother, Kanaka Durga. I chose Raag Durga, a Hindustani raga, as the musical foundation because it shares her name, creating a personal and emotional connection. The piece plays with rhythm through the jawab and sawal (question and answer) format, incorporating padhant (recitation of rhythmic syllables). The second half of the performance is rooted in Hindustani music, underscoring the universality of art—a core mission of the Kritya Ensemble, which seeks to collaborate across various global musical traditions. This work also integrates stylistic elements from other dance forms I’ve explored, inspired by my friend, Ariaki Dandawate, a Kathak dancer based in Boston, who encouraged me to delve into North Indian influences in Kuchipudi. Creating this piece has been a therapeutic process for me, helping me navigate my grief over my grandmother’s passing. |
Hori - Main tho KhelungiBrij Hindi
Concept & Choreography: Yamini Kalluri Musical Arrangement: Yamini Kalluri & Pubali Mattoo This piece in the repertoire is also dedicated to my late grandmother. The protagonist is a South Indian Gollabhama who is deeply in love with Krishna and travels to Vrindavan, North India, to spend more time with him. Much like my grandmother, she is not particularly fond of North Indian culture and finds herself facing a culture shock that makes it challenging to adjust. Amidst these struggles, she encounters the festival of Holi, which terrifies her. (Yamini's Interpretation) “My dear friend, if I were to play Holi, I would only do so with Krishna. My love for him is so profound that I am willing to set aside my own tastes and preferences for this divine bond. When Krishna approaches me and says, ‘There is something on my face...’ he suddenly smears gulaal on me instead. I forgive him, and as he wraps his arms around me in an embrace, he squeezes me tightly. I gently pull away and ask why he is being so unreasonable. He returns with another tight hug and, holding my feet, begs me to play Holi with him, twisting my arm in the process. My heart begins to soften, but I still hesitate to join in the celebration.” “As I gradually warm up to his kisses, he starts to smear red color on me. I protest, saying I don’t need the color of red because I already have my kumkuma bindi on my forehead. The sun is as red as this gulaal, and its brightness has already flushed my cheeks. Moreover, my lips are also red from our kisses. These are not just excuses! Remember how, when you looked at me, every part of my body blushed with passion and excitement? The marks you left on my arm when you held my wrist tightly prove I don’t need gulaal, Krishna!” Krishna responds, “Then I will splash you with all the other colors using my pichkaari.” The Gollabhama realizes, “As I see the colors from the pichkaari, I understand that you create rainbows in the sky every day. How have I been blind to see that these colors are meant to wash away my ignorance and sadness? I am ready to surrender to you, Krishna, and play Holi. As I immerse myself in these colors, I realize that I am Earth, and you are the Sky, while the colors you shower upon me embody fire, water, and air. I can now feel the confluence of the five elements, which fills me with a harmonious sense of joy. This compels me to embrace you. My yellow complexion mingles with your blue skin (YELLOW + BLUE = GREEN), symbolizing the arrival of spring, lush and vibrant. I can see the foliage around us coming to life as we remain in this harmonious embrace. Krishna, please don’t leave me; without you, I cannot find balance in this world.” |
Abhang - Sharana Sharana (Saint Tukaram)In Marathi
Concept & Choreography: Yamini Kalluri Musical Arrangement: Yamini Kalluri (Yamini's Intention) "In my exploration of pairing Kuchipudi with Hindustani music—an unconventional endeavor for a South Indian dancer—I discovered a beautiful Abhang in Marathi. This piece delves into themes of complete surrender and devotion to a Guru. In Indian culture, Gurus transcend the role of mere teachers; they are enlightened beings who guide their students toward awakening and illumination. This work is a heartfelt homage to all my teachers and the experiences that have illuminated my path, helping me find the light in my journey." Sundara Natarajam - Oothukadu Venkata KaviConcept & Choreography: Yamini Kalluri
Musical Arrangement: Yamini Kalluri & Harsha Mandayam Bharathi (Yamini's Intention): "In this choreography, I begin by depicting Shiva dancing in ecstatic joy, and as a devotee, I find him most beautiful in his frenzy. Through this lens, I then shift to embody Shiva's female consort, Shakthi, exploring her profound connection with him. I delve into the idea that a sexual union, fueled by pure love and the deep yearning to unite with one another, transcends even the most profound meditation. This journey is not about lust or objectification; it’s a celebration of universal love in its most visceral and authentic form. As Shakthi attempts to meditate, she finds herself distracted—first by the hissing sound of Shiva’s playful snakes, then by the radiant glow of his bright red hair, and finally by the ashes he whimsically tosses, stirring something deep within her. Her focus shifts, not due to a lack of discipline, but because of Shiva’s overwhelming beauty. In a moment of realization, she takes the rosary beads meant for meditation and recognizes that the greatest act of yoga is the union with Shiva in every conceivable way. I often hear stories of women sacrificing their dreams, desires, and ambitions for the sake of men in relationships. Yet when a woman dares to pursue her own path, society often labels her too independent, too ambitious. Why must success for women come at the cost of love? Through my artistic exploration, I envision a world where women can thrive in both love and ambition, without having to sacrifice one for the other—because compromise is healthy, but sacrifice should never be the price of happiness." |
Desh Tillana - Ranaganayaki JayaramanIn Tamizh
Concept & Choreography: Yamini Kalluri Musical Arrangement: Yamini Kalluri & Harsha Mandayam Bharathi Yamini's intention behind this choreography is deeply rooted in love and musical inspiration. After hearing Rohith sing Desh Tillana during one of our music residencies, I was instantly captivated by the melody and rhythm of the piece. It was such a spontaneous moment—Rohith began singing while we were posing for our photoshoot, and it struck a chord within me. At the same time, I was enchanted by Sanjuktha Sinha’s graceful dance to a Lehra in Desh, which sparked the idea to incorporate a Hindustani lehra interlude into my choreography. In this piece, I explore the charming love story of Sri Valli and Lord Murugan. I imagine her waiting in a lush forest, longing for him to relieve her lovesickness. And when he finally arrives, they share playful interactions that highlight their sweet bond. Since all of us in the Kritya ensemble share a love for Tamil culture, I wanted to honor the Tamil language through this choreography, weaving its beauty into the fabric of my dance. |
Mathangi Raja Mathangi - Unknown Composer
In Sanskrit
Concept & Choreography: Yamini Kalluri Musical Composition & arrangement: Asha Ramesh, Harsha Mandayam Bharathi & Yamini Kalluri Yamini's intention behind this choreography reflects a profound connection to the music and her journey as an artist. Whenever I become obsessed with a specific raga, it feels as though the universe aligns, and compositions from that raga flow to me all at once. When my friend Sreya Goparaju introduced me to a beautiful composition in Bhageshree Raga, I knew instantly that I had to choreograph to it. Around the same time, my music teacher Asha Ramesh presented me with her Tillana composition in the same raga, and it sparked the idea of creating a rhythmic pattern or jathi in Shuddha Nrittam and Thani Avartanam format. I wanted to challenge the predictable and traditional structures of dance choreography. With my recent focus on serious training in Mridangam and Carnatic vocals, Harsha and I crafted a five-minute jathi as an introduction to this piece, marking a significant milestone in my musical journey. This choreography is also an homage to my musician friends from Kritya. I see my collaborators as embodiments of Goddess Mathangi, the Nada Swaroopini, who represents the essence of music and sound. I believe that the Kritya music ensemble embodies her spirit, and they are gifts from Goddess Mathangi. My music teachers, Harsha Mandayam Bharathi and Asha Ramesh, also embody this divine essence. Ultimately, my choreographies are personal homages to the people and situations I cherish. They are inspired by my experiences and the connections I make along the way, infusing each piece with heartfelt meaning. |
You Can watch the Works by the Kritya Music Orchestra Here:
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Works by The Kritya Dance Ensemble
This Love Between Us (Reena Esmail)
"This Love Between Us is a piece about unity. Its seven movements juxtapose the words of seven major religious traditions of India (Buddhism, Sikhism, Christianity, Zoroastrianism, Hinduism, Jainism and Islam), and specifically how each of these traditions approaches
the topic of unity, of brotherhood, of being kind to one another." - Reena Esmail
(My intention)
After contemplating the composer's intention for this piece, I have realized this is the perfect timing to choreograph to this music while there is so much tension happening between Hindus and Muslims in India. This kind of tension between religions has been happening for centuries everywhere in the world but I was so lucky I grew up in a very diverse community where my friends belonged to all kinds of different religions and I went and took part in all their festivities and rituals without any hesitation. I actually practice and have subscribed to multiple religious philosophies which have inspired me through my exposure to many different cultures across the world. This was the prefect musical composition to explore my secularism and contemplate on what a true spiritual journey means to me.
I am celebrating the rich art, culture, heritage and literature which has come to life because of these religions such as the Buddhist Sculptures, Da Vinci's Christian Paintings, Sikh temples and food customs, Rumi's Mystical Islamic poems etc.
the topic of unity, of brotherhood, of being kind to one another." - Reena Esmail
(My intention)
After contemplating the composer's intention for this piece, I have realized this is the perfect timing to choreograph to this music while there is so much tension happening between Hindus and Muslims in India. This kind of tension between religions has been happening for centuries everywhere in the world but I was so lucky I grew up in a very diverse community where my friends belonged to all kinds of different religions and I went and took part in all their festivities and rituals without any hesitation. I actually practice and have subscribed to multiple religious philosophies which have inspired me through my exposure to many different cultures across the world. This was the prefect musical composition to explore my secularism and contemplate on what a true spiritual journey means to me.
I am celebrating the rich art, culture, heritage and literature which has come to life because of these religions such as the Buddhist Sculptures, Da Vinci's Christian Paintings, Sikh temples and food customs, Rumi's Mystical Islamic poems etc.
Composition by Reena Esmail
Choreography by Yamini Kalluri (Director of Kritya Ensemble and Soloist)
Produced by Vijay Gupta (Artistic Director/Artist in residence with Music Worcester, 2023)
Video by Louis Ng
Dancers of Kritya Dance Ensemble :
Erin Landers
Sierra Christine Sanders
Pawel Kurylo
Mirai Shinde
Kristi Ann Schöpfer
Allana Loraine Tyson
Yamini Kalluri
Intention of the Choreographer:
In the first movement, which is Buddhism I start off showing Buddha attaining enlightenment under the Bodhi tree and then show other Bodhisattvas of the Tibetan tradition such as Manjushree and others. I move on to showing how various vices and addictions in this world distract us from attaining enlightenment. I use the bird analogy, to show we won't be able to fly high feeling liberated also because the society doesn't want us to feel free but again it is up to our mind whether we want to feel liberated or not and we can change the world with our steadfastness.
In the second movement, where we depict Sikhism, I must say this was the most visually exciting segment for me to work with. The principle of generosity, kindness and living a life as a royal king has stood out to me. I show the Sikh symbol which is the Khanda which shows the three weapons: A double-edged khanda (sword) in the centre A chakkar (chakram) Two single-edged daggers, or kirpan, crossed at the bottom, which sit on either side of the khanda and chakkar. They represent the dual characteristics of Miri-Piri, indicating the integration of both spiritual and temporal sovereignty together and not treating them as two separate and distinct entities.The left sword is called Miri and the right sword is called Piri. We move on to creating the ambience of a Gurdwara, where the devotees read from their Holy scripture, Guru Granth Sahib. The importance of Guru, music where Sarangi is one of the most traditional Punjabi folk instruments and the value of serving food generously to all (hangar) has been highlighted. In the end I show how once truly understanding the essence of Sikhism via a proper Guru, how one can attain liberation. I show the students assuming that they understood Sikhism just by listening to the Guru's teachings but they are still blindfolded by their ego but true enlightenment only comes when you follow the Guru's footsteps. And the guru removes your blindness if you let him. While I was creating this movement, I envisioned all of this happening in a cave with a waterfall and then towards the end I saw the dancers dancing against the backdrop of Aurora Borealis.
Third-movement, we move on to Christianity the most popular religion in the world which was spread to the world via colonialism. Here I take a comedic standpoint because all of us are familiar with biblical stories and in my point of view comedy is the most spiritual take because the art of not taking yourself seriously and realizing this is all just play is the most liberating feeling which you are still serious about being close to the truth. It is this duality which is the spiritual state I feel. While I show the birth of Jesus, him creating a cult of confidants and followers, the story bread and wine representing Jesus' being, the bleeding woman story, the last supper and the resurrection story, I bring in a modern age mortal reading all of these stories with so much fervor and she ends up entering the stories and famous biblical paintings. She is an outside character who enters these iconic paintings/scenes from Jesus' life and she sort of meddles and disrupts the elements in the painting and this in turn brings the characters in the stories back to life because the modern day girl has created glitch for example by trying to eat the food in the last supper. I was trying to recreate Alice in Wonderland aesthetics.
Fourth Movement is about the most underrated religion, Zoroastrianism. I love the idea in this religion where they say good and evil will always persist together. The god of good is Ahura Mazda and the evil representative is Angra Mainyu. I am a big fan of Graham Hancock and I do believe that this was a religion which is a consequence of the ice age and they believed Ahura Mazda was that messenger. I show Ahura Mazda emerging from the waters and come to the people of Mesopotamia restore peace and there is a spirit which is seduced by the evil and becomes an incarnate of Angra Mainyu. Zoroastrianism, in my opinion consists of the original Adam and Eve story which was later adopted by other western religions where they are referred to as Mashya and Mashyana. I created a metaphor where all of the people start become puppets of Angra the evil god and Ahura Mazda restores good in the world by cutting off the strings of the puppets from the evil puppeteer.
Fifth movement, I get on to perform solo representing Hinduism where eroticism and divinity are intertwine in the dualistic approach of Vedanta. In fact, eroticism is used as a tantric imagery to show the Jeevatma (devotee) becoming one with the paramatma (god) in the union. The female devotee is becoming one with Lord Krishna. The romantic elements and devotion are intertwined in this particular spiritual journey.
Sixth movement is Jainism where I focus on showing how in this Jain approach violence will lead to constant reincarnation. And in the story I have come up, I show with every reincarnation the spirit understands the principle of non-violence and towards the last incarnation which is the seventh incarnation the spirit chooses love over violence to truly feel liberated. Last movement which is Islam and showing all religions of Indian merging together. In Islam, believing that Allah is the only god is very essential. The things which I always admired in Islam was their discipline to do prayer multiple times a day no matter where they are. I think discipline is the highest form of spirituality. A lot of my approach to choreographing to Islam was influenced by Rumi's poetry. The mystical and wistful approach of searching for God or Allah. Then we finally show all of the religions joining in together to depict a truly Indian experience. Since, I grew up in Hyderabad, India I spent most of my life going to churches, Temples, gurdwaras and mosques with an open mind. I had friends from all religions and my life was influenced by all these religions. My family is agnostic and I embraced all religions as part of my identity from a very young age. This choreography is an homage to all of my Indian brothers and sisters who hail from all religions. I am proud to belong to a very diverse and secular country. This is to show we are all mixed and none of us pure and original.
Choreography by Yamini Kalluri (Director of Kritya Ensemble and Soloist)
Produced by Vijay Gupta (Artistic Director/Artist in residence with Music Worcester, 2023)
Video by Louis Ng
Dancers of Kritya Dance Ensemble :
Erin Landers
Sierra Christine Sanders
Pawel Kurylo
Mirai Shinde
Kristi Ann Schöpfer
Allana Loraine Tyson
Yamini Kalluri
Intention of the Choreographer:
In the first movement, which is Buddhism I start off showing Buddha attaining enlightenment under the Bodhi tree and then show other Bodhisattvas of the Tibetan tradition such as Manjushree and others. I move on to showing how various vices and addictions in this world distract us from attaining enlightenment. I use the bird analogy, to show we won't be able to fly high feeling liberated also because the society doesn't want us to feel free but again it is up to our mind whether we want to feel liberated or not and we can change the world with our steadfastness.
In the second movement, where we depict Sikhism, I must say this was the most visually exciting segment for me to work with. The principle of generosity, kindness and living a life as a royal king has stood out to me. I show the Sikh symbol which is the Khanda which shows the three weapons: A double-edged khanda (sword) in the centre A chakkar (chakram) Two single-edged daggers, or kirpan, crossed at the bottom, which sit on either side of the khanda and chakkar. They represent the dual characteristics of Miri-Piri, indicating the integration of both spiritual and temporal sovereignty together and not treating them as two separate and distinct entities.The left sword is called Miri and the right sword is called Piri. We move on to creating the ambience of a Gurdwara, where the devotees read from their Holy scripture, Guru Granth Sahib. The importance of Guru, music where Sarangi is one of the most traditional Punjabi folk instruments and the value of serving food generously to all (hangar) has been highlighted. In the end I show how once truly understanding the essence of Sikhism via a proper Guru, how one can attain liberation. I show the students assuming that they understood Sikhism just by listening to the Guru's teachings but they are still blindfolded by their ego but true enlightenment only comes when you follow the Guru's footsteps. And the guru removes your blindness if you let him. While I was creating this movement, I envisioned all of this happening in a cave with a waterfall and then towards the end I saw the dancers dancing against the backdrop of Aurora Borealis.
Third-movement, we move on to Christianity the most popular religion in the world which was spread to the world via colonialism. Here I take a comedic standpoint because all of us are familiar with biblical stories and in my point of view comedy is the most spiritual take because the art of not taking yourself seriously and realizing this is all just play is the most liberating feeling which you are still serious about being close to the truth. It is this duality which is the spiritual state I feel. While I show the birth of Jesus, him creating a cult of confidants and followers, the story bread and wine representing Jesus' being, the bleeding woman story, the last supper and the resurrection story, I bring in a modern age mortal reading all of these stories with so much fervor and she ends up entering the stories and famous biblical paintings. She is an outside character who enters these iconic paintings/scenes from Jesus' life and she sort of meddles and disrupts the elements in the painting and this in turn brings the characters in the stories back to life because the modern day girl has created glitch for example by trying to eat the food in the last supper. I was trying to recreate Alice in Wonderland aesthetics.
Fourth Movement is about the most underrated religion, Zoroastrianism. I love the idea in this religion where they say good and evil will always persist together. The god of good is Ahura Mazda and the evil representative is Angra Mainyu. I am a big fan of Graham Hancock and I do believe that this was a religion which is a consequence of the ice age and they believed Ahura Mazda was that messenger. I show Ahura Mazda emerging from the waters and come to the people of Mesopotamia restore peace and there is a spirit which is seduced by the evil and becomes an incarnate of Angra Mainyu. Zoroastrianism, in my opinion consists of the original Adam and Eve story which was later adopted by other western religions where they are referred to as Mashya and Mashyana. I created a metaphor where all of the people start become puppets of Angra the evil god and Ahura Mazda restores good in the world by cutting off the strings of the puppets from the evil puppeteer.
Fifth movement, I get on to perform solo representing Hinduism where eroticism and divinity are intertwine in the dualistic approach of Vedanta. In fact, eroticism is used as a tantric imagery to show the Jeevatma (devotee) becoming one with the paramatma (god) in the union. The female devotee is becoming one with Lord Krishna. The romantic elements and devotion are intertwined in this particular spiritual journey.
Sixth movement is Jainism where I focus on showing how in this Jain approach violence will lead to constant reincarnation. And in the story I have come up, I show with every reincarnation the spirit understands the principle of non-violence and towards the last incarnation which is the seventh incarnation the spirit chooses love over violence to truly feel liberated. Last movement which is Islam and showing all religions of Indian merging together. In Islam, believing that Allah is the only god is very essential. The things which I always admired in Islam was their discipline to do prayer multiple times a day no matter where they are. I think discipline is the highest form of spirituality. A lot of my approach to choreographing to Islam was influenced by Rumi's poetry. The mystical and wistful approach of searching for God or Allah. Then we finally show all of the religions joining in together to depict a truly Indian experience. Since, I grew up in Hyderabad, India I spent most of my life going to churches, Temples, gurdwaras and mosques with an open mind. I had friends from all religions and my life was influenced by all these religions. My family is agnostic and I embraced all religions as part of my identity from a very young age. This choreography is an homage to all of my Indian brothers and sisters who hail from all religions. I am proud to belong to a very diverse and secular country. This is to show we are all mixed and none of us pure and original.
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