If you stand still you stagnate. And for a creative person, that surely rings the death knell! An artist’s mind must constantly evolve with new, original and imaginative ideas that will surge one forward to greater creative heights. In the field of a classical traditional dance from like Bharatanatyam, with an ancient history spanning over 5000 years, this is often a difficult and uphill task. For one will surely come across people that will question such attempts with the view that it dilutes the time tested format. But I feel, in our land with its great diversity, where we are constantly searching to find avenues to amalgamate these diversities, they must be allowed to mutually co-exist and grow. Therefore I take great pleasure in combining Bharatanatyam with Kathak, with folk dance, with modern contemporary dance and even tap dancing!! I also like to blend traditional Carnatic music, with bhajans, with western choir music, and even folk music. Perhaps I was one of the an early introducers of the audio visual medium to dance, for I effectively used it in programs like The Gitagovindam , the Krishna Chalisa, and in Varanasi a Gateway to Moksha. In fact the latter even had film sequences shot at Varanasi to bring the ancient city to the stage.

My attempt has always been to lessen the ambiguity of traditional classical bharatanatyam, to widen its frontiers and make it accessible to the lay person. This is especially necessary to the modern Indian child who is more prone to readily accept western concepts and ideas. To gently glide them into the art form I presented dance dramas using themes that they could relate to, like the Birth of Jesus, the Sound of Music, Alice in Wonderland, Noddy in Nrityaland and others. These familiar topics made an impact on their young minds. As they matured in their art it would be easier to introduce them to emotions of ‘bhakti’ and the 'shringara’ which make up much of the abhinaya of traditional dance repertoires.