Rama
Vaidyanathan

Bharatanatyam · New Delhi, India

Tradition.
In motion.

I am Rama Vaidyanathan.
My dance begins with a classical language—and a mind that keeps exploring.

Through performance, choreography and teaching, I seek new possibilities within Bharatanatyam.

Explore my work ↗Watch me dance ▷
Nritya KalanidhiMusic Academy · 2020Sangeet Natak AkademiPuraskar · 2017
Rama Vaidyanathan in teal and gold Bharatanatyam costume, holding an expressive pose
From my website’s photographic archive · Original source ↗
Performer✦Choreographer✦Teacher✦Always a student
Rama in a teal and gold costume, one hand held near her shoulder
Photograph from my original website archive

01 / My journey

A strong foundation.
An individual voice.

My training under Yamini Krishnamurthy and Guru Saroja Vaidyanathan gave me a deep grounding in Bharatanatyam.

I carry that discipline into my work while continuing to develop my own approach to movement, interpretation and choreography. For me, tradition is a place of discovery.

My journey takes me from the concert stage to classrooms, workshops and conversations with audiences. At Ganesa Natyalaya in New Delhi, teaching is part of the continuing life of the art.

Read my original biography ↗Ganesa Natyalaya ↗

Recognition along the way

2020Nritya Kalanidhi
The Music Academy, Madras↗2017Sangeet Natak Akademi Puraskar
National recognition in dance↗

Kalaimamani · Kalashree · Kumar Gandharv Puraskar · Nritya Choodamani

Explore the awards archive ↗

02 / Choreography

A repertoire
of questions.

A bird’s movement. A poet’s voice. The relationship between the earth and its people. My choreography begins with an idea.

Earth & belonging

Rathnagarbha

In this solo work, I explore images of the earth as a source of life and nourishment, drawing on ancient texts and a Harappan image of a woman with a growing plant.

Concept, choreography and dance: Rama Vaidyanathan. Presented at Dancing the Gods, New York, in May 2024.

Explore the work & programme ↗
Feminine energy · collaboration

Shaktya

I join Dakshina Vaidyanathan on stage in this exploration of feminine energy, with Sannidhi Vaidyanathan on mridangam.

Concept, script and choreography: Rama Vaidyanathan. US presentations included Bryn Mawr and New York in September 2025.

View the presenter’s programme ↗

From my choreographic archive

New ideas.
Classical vocabulary.

Selected compositions from my original website. Open a work to explore its theme and collaborators.

Mayur Alarippu

The movement of the peacock is explored through a rhythmic cycle of five and a half beats, composed by nattuvanar Karaikkudi Sivakumar.

Mad and Divine

The poetry of Janabai and Lalleswari enters Bharatanatyam. Music for the Marathi abhangs is by Sudha Raghuraman; A. Vasudevan composed the score for the Kashmiri vaakhs.

Akhilam Madhuram

A choreographic exploration of the symbolism of Mathura and Brindavan, with music by flautist G. S. Rajan.

Brahmajaladhara

The story of the Ganga, created with music by G. S. Rajan.

Angikam Bhuvanam

An exploration of the cosmic self, with music by G. S. Rajan.

Dance of the Birds

An ode to the bird, created with G. S. Rajan’s music.

Read the original composition notes ↗

03 / Performances

On the
calendar.

Selected presenter listings and moments from the performance archive.

06January 2027
Presenter-listed programme

The Music Academy, Madras

20th Annual Dance Festival · Bharatanatyam
Chennai · 6:00–7:30 PM IST

Listed by the presenter; check its programme for current arrangements.

Official programme ↗Add to my calendar ↓
ShaktyaErasing Borders Dance Festival · New York↗ShaktyaSruti · Bryn Mawr, Pennsylvania↗RathnagarbhaDancing the Gods · Asia Society, New York↗
Explore my international performance archive ↗

04 / Teaching & exchange

The next question
is always welcome.

Teaching is another way I stay in conversation with Bharatanatyam.

Through masterclasses, workshops and lecture demonstrations, I share technique, interpretation and the thinking behind choreography. My work with SPIC MACAY also brings classical dance to young audiences.

Masterclass archive · 20 September 2025

TULA — Finding the Balance

Core control, restraint and release; finding a balance between imagery and emotion.

Read the festival playbill ↗
Discuss a workshop ↗
Rama in pink and gold costume, seated in a Bharatanatyam pose
From my original website’s photographic archive

05 / Movement & conversation

See the dance.
Hear the thinking.

Explore my YouTube channel ↗

In performance

Ravi Shankar’s Tarana

A musical composition explored through Bharatanatyam.

Watch on YouTube ↗

Choreography

Akhilam Madhuram

From my choreographic exploration of Mathura and Brindavan.

Watch on YouTube ↗

Ideas & conversation

A conversation at TEDx

Reflections on dance beyond the performance space.

Watch on YouTube ↗

In conversation

NIV Baithak

An extended conversation about my life and work in dance.

Watch on YouTube ↗

Choose a film to load its YouTube player. Original links remain available below every preview.

Browse the original video archive ↗

07 / Writing & reflection

Beyond
the stage.

A public talk

In conversation at TEDx

Watch the talk ↗NIV Baithak

A longer conversation about dance

Watch the interview ↗From my original website

Essays, articles and interviews

Explore the reading archive ↗

08 / Words from the press archive

Through
another’s eyes.

The Hindu · V. R. Devika · 2003
“vibrant and deeply involved”
Femina · 2003
“a unique blend of Tradition and Innovation”
The Hindu · Manjari Sinha · 2007
“an individualistic statement and style”
Read the reviews in my original press collection ↗

Let’s connect

Make space
for the arts.

For performances, workshops, lecture demonstrations and collaborations, reach me through my original website’s contact page.

Send an enquiry ↗Follow my public updates ↗
Planning a performance? Notes for presenters

The original technical rider specifies space for five musicians, a carpeted orchestra platform, amplification for voice, instruments and footwork, stage monitors, suitable lighting and separate green rooms. It asks for access to the venue three hours before the performance for rehearsal and sound checks.

Please confirm the current production’s full requirements directly with the team.

Read the original technical rider ↗

Original source ↗

Watch the original on YouTube ↗