{ENGLISH| Point(s)of view

 While searching for an on-stage language which incorporated the stage elements: dance and drama, movement and theatricality, and keen to meat different approaches besides my knowledge of westerntheatre and dance, I did my first Tat adavus in Paris. (Tat Adavus are the first exercise in      Bharatanatyam).    Extremely moved, charmed and actually in love with the beauty, the diversity and depth of this art form, and amazed by the style of Sri Muttuswamy Pilai taught to me by my teacher  Malavika, I traveled to Chennai, India to continue my studies there.

 It is this magic feeling of wonder and joy that I felt and always feel to this art form that gives me the daily fervor to dance.

La danse indienne provient de plusieurs origines : les anciens manuscrits, la tradition orale, la poésie tamoule et telugu, les statues dans les temples et les rites.

Parallèlement à ces racines traditionnelles, la danse continue son parcours et s'imprègne de contes populaires, du langage de la rue, des gestes quotidiens ; elle respire l'air du jour, de notre ère.

Jamais l'art ne se fige : la statue du temple ou le mouvement de la danse sont aussi vivants et vibrants qu'il y a des milliers d'années.

The Indian dance derives from several origins: the ancient manuscripts, the oral tradition, the Tamoul and Telugu poetry, the statues in the temples, the temple rituals.

Parallel to its traditional roots, the dance traces it's way, influenced by folk tales, daily gestures, modern expressions. Thus the dance breathes and lives the era of our time.

Never does the dance freeze, or stay immovable just as the temple statues seem to be in constant motion, so is the motion of the dance. It is as vibrating and lively as it has been from thousands of years.