“The spark for Embodiments came with over two decades of practice and performance with Tagorean poetic compositions,” says Sanjukta Banerjee. “Over these years of exploration I realized that [Rabindranath] Tagore’s words set to music, although deeply poetic, have a rhythmic quality that lends itself beautifully to movement.”
What began as a personal journey has since transformed into Embodiments: Exploring Tagore’s Poetic Compositions, a theatrical dance performance that gives shape to the emotional and spiritual essence of Rabindranath Tagore’s poetry. “What started as a personal exploration of his works gradually evolved into this performance,” Banerjee reflects, “which is a work in progress where I aim to explore through the lyrical beauty of poetry with the physicality of dance genres from east and west.”
Curated and conceptualized by Banerjee, the choreographic work marks the culmination of her research and literacy building of Tagore’s canon during her two-year guest curatorship at Dancemakers. Drawing from her lifelong relationship with Tagore’s work, the piece transcends language and geographical boundaries, embodying his verses through a rich interplay of Indian classical and contemporary movement.
When Banerjee first encountered Tagore’s poetry, it wasn’t just the lyrical beauty of his words that captivated her; it was the emotional depth they evoked. “His poems speak so clearly to human experience,” she says, “to longing, love, solitude, spirit, and nature.” These emotions resonated deeply with her as a dancer, and she felt drawn to give them form. Over decades of dancing to Tagore’s compositions, that personal connection evolved into Embodiments, a dance-theatre work that brings his poetry to life through Indian classical and contemporary movement.
Audiences attending Embodiments can expect a rich visual and emotional experience. The performance blends dance styles such as Kuchipudi, Bharatanatyam, Kathakali, and contemporary forms, each chosen to reflect the mood and themes of specific poems. Some sections are quiet and introspective, while others are charged with strong emotion and action. “We want people to feel the poems, not just watch the dance,” Banerjee explains. “The shifts in movement from classical stillness to contemporary motion, mirror the emotional range in Tagore’s work.”
Banerjee emphasizes that the goal of Embodiments is not merely to interpret the poetry, but to embody it. She wants the audience to feel it in every gesture and silence, with emotions and expressions (bhava) acting as the true narrator, transcending the need for words. The choreography, rooted in classical dance, expands beyond traditional boundaries by incorporating contemporary movement styles. She credits dramaturg Brandy Leary for her pivotal role in balancing these elements. “Brandy brings a sensitivity to the work,” notes Banerjee, “ensuring the emotion behind each poem is felt fully, no matter the style of movement.” In Banerjee’s view, Leary’s understanding of the emotional depth of movement allows the classical aspects to remain grounded, while leaving space for fresh expressions that align with Tagore’s vision of art as dynamic and ever-evolving.
Collaboration is a key element in Embodiments, and Banerjee has gathered a diverse group of talented artists, including dancers Harikishan S. Nair and Sukanya Burman, alongside students from her Saugandhikam Dance Academy. Harikishan’s extensive expertise in classical dance and theatre, combined with Sukanya’s knowledge of contemporary movement, creates a harmonious balance. The students also bring a deep sense of heart and commitment, which has been a joy for Banerjee to witness. Shea finds it rare and special to see young dancers fully embrace both the physicality and emotional depth of the work, connecting so profoundly with Tagore’s poetry. “It’s beautiful to watch them navigate the space between tradition and innovation,” she says. “They are the bridge between the old and the new.”
Choosing which poems to include in Embodiments was not easy for Banerjee. She was especially drawn to poems that explored themes like love, empowerment, nature, and social inequality. Certain lines stayed with her, like Tagore’s vivid imagery of the wind, the river, or a woman waiting in sorrow, felt powerful and alive. “Some of his lines almost choreograph themselves,” she says. “They demand movement.” Through these selections, Sanjukta wanted to highlight the deep connection between the human spirit and the natural world, showing how that bond can bring peace, strength, and even inspire moments of protest or transformation.
The performance encompasses concepts such as spiritual yearning, love, loss, and hope that are universal themes. Banerjee sees Embodiments as a gateway to connect with something deeply emotional for those unfamiliar with Indian classical dance or Tagore’s poetry. She’s particularly drawn to the introspective nature of Tagore’s poems, explaining that “they feel more internal, like conversations with the self.” She adds, “even if you don’t understand the language or the dance form, the emotion is something everyone can relate to.”
The sound design for this show enhances the emotional depth of the work. Although this version uses recorded music, it has been carefully curated to match the mood and rhythm of each poem. Classical Indian instruments blend with contemporary elements to bring the poetry to life. The sound is not simply background; it carries the soul of the performance. While live music is a future goal, every beat in the current version is designed to pull the audience deeper into Tagore’s world. Banerjee talks about wanting the soundscape to be just as layered as the choreography and that “every note is meant to echo the poetry’s feeling.”
Embodiments is a work that is still evolving, continuously shifting with each rehearsal. Yet, at its core, it carries a desire to convey something fundamental and universal. Through this work, the artists hope the audience leaves the theatre with a profound emotional experience, of not just having watched a dance, but having shared in a feeling, a moment of stillness, and a sense of recognition. “We want people to leave not only moved,” Banerjee shares, “but also reminded of something within themselves.”
Presented by Dancemakers with support from TO Live, Embodiments: Exploring Tagore’s Poetic Compositions, will be performed on April 11 – 12 at 7:00 PM ET at the Studio Theatre, Meridian Arts Centre, 5040 Yonge Street. Reserve tickets at dancemakers.org.
© Yamini Menon, Sesaya Arts Magazine, 2025
