प्रेक्षकानां प्रमोदाय प्रीतये परमात्मनः |
कुर्मस्स्वचित्तशुद्ध्यर्थं चिद्रसाभिनयं वयम् ||

To gladden the spectators, to gain the love of the Supreme Lord and to
cleanse our own-self, we do the ABHINAYA, which is filled with the
eternal rasa.

महानटसमारम्भां भरताचार्यमध्यमाम् |
अस्मदाचार्यपर्यन्तां वन्दे गुरुपरम्पराम् ||

I bow down to the Guruparampara, which was divinely started by
mahaanaTa (i.e., Shiva), was continued by Bharatamuni and has come
down up to my own guru.

Shlokas © Abhinaya. Written by our friend, scholar, guru Arjun Bharadwaj.

For dance is a language that I internalize to write my personal dance poetry

When we dance, We at once a poet, painter, and singer. The songs and poems we interpret are from ancient India to which we add new contemporary colors and tints, to bring back, the history, ancient Scriptures, and Sanskrit literature to new age Life. and when dance and music go hand in hand, it follows the ebb and flow of each other for a colorful improvisation.

Abhinaya 1.3_a


We at Abhinaya sing with our bodies and That the music dances.

In India, Since ancient times, Dance has been a powerful motif of the rhythms of the universe- an expression of the divine. The origins of Bharatanatyam, Kathak, major classical dance styles of India, go back more than two thousand years. But, nurtured in the great temples as a sacred ritual, patronized in the courts of Kings, celebrated through sculpture and painting. poetry and song- and enriched by creative gurus and dancers over the centuries, this dance form has come down, across centuries, as a dynamic, continuously evolving dance language. With its intertwining threads of the sacred and the secular, the power and beauty of this style, for us, lie in the ability to integrate the physical, emotional, intellectual and spiritual dimensions of life.

Born in 2011, Abhinaya Indischer Tanz imparts training in Margi Tradition, Natya Shastra, BharataNrityam, Bharatanatyam with occasional training in Kathak, Semi-Classical and folk dance to aspiring dancers in Munich, students are provided comprehensive theoretical and practical training from beginners level to advance level. And at Abhinaya Tanz Kampani, We celebrate the amalgamation of the Western and Indian Classical dance forms, through various Indo Contemporary productions.


Traditional Classical Dance

Sneha Bharadwaj follows the traditional Bharatanatyam repertoire and has an innovative approach for her performance with the presentation of Bharatanatyam, BharataNrityam, and Kathak. Neo-Classical choreographies are the segments which pay tribute to the past with a vision of the future yet rooted and maintaining the purity of the classical context.

Students enrolled for traditional classical classes will be introduced to Natya Shastra, BharataNrityam, Margi style of Sage Bharata, Bharathanatyam and folk dance of India during there intensive training at Abhinaya.

Indian art and aesthetics scholars have always laid stress on the importance of both the form (rUpa) and content (svarUpa) of any given art form and moreover, a blend of the two must be such that the it must be hard for the connoisseur (rasika) to identify which of the two evoked the intended bhaava and thereby the rasaananda in him. In poetry, this would be a blend of the meter and the theme of the poem including vakrokti; in music – a blend of the raga (melody), taala (rhythmic cycle) and the lyrics of the song; in painting, the colours and the theme of the picture. Similarly, in dance, a merger of the form and the content being presented must be such that the two are inseparable and each should aid in reinforcing the other.

In the mArgi style of Bharata, the cAris (leg movements) and karaNas (sculptural movements) themselves have an inherent flavor, which can be bolstered by employing appropriate sAtvikAbhinaya (aesthetic emotion). Using angahaaras, Nritta Hastas (upper body movements) which are a chain of karanas or chAris, an emotion can be further enhanced, expressed in different ways or a chain of different emotions can be brought about.
Nritta or pure dance is an essential component of Indian classical. The best way to ‘see music through dance’ would be to imitate the rise and fall of notes in the Jathiswaram (song only the notes are sung) through the movement of the limbs, eyes and the body as a whole. The gamakas including smooth transitions between musical notes and minute trembling around the notes can be brought out by using the curvilinear movements of the body, as employed in the Bharatanrityam style.


Abhinaya- Semi Classical Classes

Abhinaya Semi-Classical Choreography is an effort to recreate the style of older Indian movies, where the choreography was primarily modeled on Indian classical and folk dance styles.

The style of dancing in earlier Indian movies was based on Indian Classical Dance or Folk Dances from various parts of India. These dances included the classical art forms of Kathak and Bharata Natyam, Odissi. In the late 50’s & 60’s group dances began to evolve in Bollywood films & choreographers started managing larger groups of dancers, with influences from folk dances. Then came the era of color films, Indian Cinema has always been blessed with great dancers who with their outstanding energy and performance mesmerized the audiences and took dance to the next level. There was no change in the style of dance, as choreographers still followed the classical and semi-classical styles of dance. Indian Cinema Dance & Choreography began to change in the 70s. Currently the dance in Indian Cinema still influenced by Western culture, perhaps even more so today than when it began.

The Evolution of Dance in Indian Cinema is a process that is entirely Indian and yet cross-cultural at the same time.

Abhinaya Semi-Classical Choreography is an effort to create the magic of the era of the 50s with popular Sufi and classical based Bollywood songs.


Abhinaya Tanz Kampani

Kampani was started in 2016 to explore and create new expressions in dance, Kampani believes in engaging recognizably Indian Movements aesthetic sensibilities to create a contemporary dance vocabulary, which explores the limitless possibilities of the human form. Motifs of Indian Movement disciplines, Experiments with Rhythm, interactive design, come together to form the Kampanis signature style. Needless to say, the Kampai dancers breathe and live Dance, The dancers are trained for years in their respective art forms… Be it Ballet, Contemporary dance or Jazz they have mastered the technique and now are imbibing the roots of Indian Art form to create a new vocabulary.