Dakshina Vaidyanathan

Bharatnatyam dancer, choreographer

Dakshina Vaidyanathan
Dakshina Vaidyanathan belongs to a family of eminent Bharatanatyam dancers. She has undergone rigorous training in her own home Ganesa Natyalaya under the able tutelage of her Grand Mother  Guru Saroja Vaidyanathan and her mother Rama Vaidyanathan. She was awarded the CCRT scholarship by the Department of Culture Govt.Of India in 2003, The Kalpana Chawala Award, in the Young Achievers' category in 2005 and the Sahitya Kala Parishad Scholarship in 2012. She is a Diploma holder in Bharatanatyam from Indira Kala Sangit Vidyalaya and a B.Tech degree holder in Electronics and Communication Engineering from Vellore Institute of Technology. Right from age 10 Dakshina has been accompanying her Grand Mother and her Mother for various performance tours in India and abroad. She has also traveled individually on her own merit for various youth Festivals. 

Dakshina Vaidyanathan has lived with dance, intensely enjoying every moment of it since childhood. A brilliant student of Delhi Public School R.K.Puram, she has represented her school for several dance festivals, not only in Delhi but also to Kyrgysthan and Russia.

Right from the age of four she has traveled the country participating in her grandmother, Guru Saroja Vaidyanathan's dance productions. As an eight year old she danced with her mother, Rama Vaidyanathan at the Snow Festival in Japan.

Dakshina is also a debator and an avid speaker. In 2000 she represented her school during the Millenium Children's Festival in New Zealand. There at the World's Children's Parliament, she spoke about children's rights in India. Dakshina loves music and swimming. She has participated in and won competitions in both for her school. She writes poetry in her free time.

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Dakshina Vaidyanathan.
Dakshina Vaidyanathan.
Three generations.
Three generations.
Dakshina Vaidyanathan
Dakshina Vaidyanathan
Dakshina Vaidyanathan.
Dakshina Vaidyanathan.
Dakshina Vaidyanathan.
Dakshina Vaidyanathan.
Dance is in her blood. At a young age of 21 she has moved audiences worldwide through a myriad of national and international performances, in in Japan, Africa, New Zealand and Russia to name a few and won many prestigious awards and scholarships as well. Dakshina Vaidyanathan, granddaughter of Padmashree Saroja Vaidyanathan and daughter of Kalaimamani Rama Vaidyanathan, recognised and admired for her talented performances and unconventional choreography, passionate for the divine art form – Bharatanatyam.

Dakshina is one of the most promising Bharata Natyam dancers today and an innovative choreographer. Her productions include:
1. Mayurang- a peacock dance choreography in a neo-classical. 

2. From Zero To Infinity- it is a choreography describing the evolution of the advancement of technology in India, and how this is related to the social, cultural and spiritual aspects of people's lives. 
The most challenging choreography was ‘From Zero to Infinity’ which described the evolution of the advancement of technology in India. The choreography was split into three acts, each describing the technological advancements in one millennium (the first, second and the third millennium respectively). As this choreography was in Bharatanatyam, it was important  to bring in the spiritual aspect of technology. For example, in the medieval age, mechanical and civil technology saw its peak in temple architecture. The science behind temple architecture is actually linked with man’s journey from the material world to the ultimate state of ‘nirvana’ or salvation. It was challenging. But that’s what makes the taste of success even sweeter.

3. Nakshatra- its a choreography on astrology. It describes the 12 zodiac signs and explains thier broad categories and characteristics. It debates on weather astrology is science or faith, and weather it is controllable or it is fate.

 4. Cleopatra- an episode from the life of the Egyptian queen Cleopatra, done in neo-classical style. It describes her marriage to Mark Antony, her defeat in the Battle of Actium and thereafter, her death.

Tours with Guru Saroja Vaidyanathan - West Africa ICCR Tour 

Tours with Rama Vaidyanathan - USA , France, Spain , UK, Japan, Srilanka. Apart from performing she conducted Nattuvangam for her mother and also assisted in several workshops.

Tours undertaken on own merit - Youth Festival in China, Australia, New Zealand, Russia, Turkmenisthan, Kyrgysthan, Turkey

Important Performances done recently:

* Performed solo for 'Vande Nrityam' a festival of Young Dancers in New Delhi in December 2012
* Performed solo at the Sai International Arts Festival for young dancers, held in Bangalore in December 2012
* Performed solo for the Soorya Festival in Trivandrum in January 2013
* Performed solo at the Sangeen Natak Academy festival in Jodhpur held by the Jodhpur Sangeet Natak Academy, in January 2013
* Performed solo at the Sahitya Kala Parishad festival- 'Festival of Young Musicians and Dancers' in January 2013
* Performed the role of Yashodhara in Guru Saroja Vaidyanathan's dance drama 'Yashodhara' in July 2013
* The Carthage International Festival at Carthage, Tunisia, a group performance sponsored by he ICCR in July 2013
* Performed solo at the 'Spirit of Youth Festival' at the Music Academy in August 2013, one of the most prestigious festivals for young dancers in India
* Performed at the Lotus Temple in New Delhi in September 2013 for the 'Unity Concert Series'
* Performed for the 'Guru Gopinath Natanagramam Natya Utsavam', Trivanrum in Januay 2014


Dakshina Vaidyanathan presents Bharatanatyam dane program.

Bharatanatyam in its traditional style. But Dakshina also do choreography, the style of which she like to call ‘neo-classical’. Traditional Bharatanatyam should definitely be preserved and performed as a part of our ancient heritage. It’s a beautiful art form. Compositions that have been passed down through generations are performed even today and it makes me feel very proud to be a part of this heritage. But at the same time, it is important for every art form to evolve with time to cater to our evolving thought process. Why should Bharatanatyam be restricted to being a monologue between the dancer and the Lord? Why should it be confined to only stories and compositions related to spirituality? Bharatanatyam is a language that has the capability to express almost anything. It is upto us, the new generation of dancers, to identify this. It is very challenging to express modern thoughts and concepts through Bharatanatyam. It’s like asking someone to explain the functioning of a laptop in Sanskrit.
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