• To revive, practice and preserve the traditional performing art forms and to present them principally for a spiritual experience and to share, across the globe, the richness of the hoary Indian performing arts through pure entertainment.
  • To encourage talented classical dance artists and choreographers by involving them in home productions.
  • To encourage, train and present differently abled people through performing Arts

Team Profiles


Event Management

ArticulateIndia takes upon the responsibility to organize programmes to the Corporate and Non Corporate sectors in all its dimensions from identifying the requirement of the client to suggest venue, create conducive ambiance, set up required technical support and tailor cultural acts.

  1. Theme Based cultural acts

    The acts can be designed to suit or compliment the theme of the event. The cultural acts can be a selection among, Indian classics, Indian Traditional, World Dance/Music or a fusion of the ones mentioned.
  2. Stage

    Setting Suitable, aesthetically designed and functional stage for conducting the corporate business and also Cultural programme, for any dimension that fits the chosen venue.
  3. Backdrops

    Designing, Creating and executing stage craft that enhance the visual presentation of the stage, drawing focus to the activities on the platform. This could be both artistic and functional. This can be very specific and customized for the client.
  4. Light

    Conceptualizing, designing, Contracting and providing adequate and suitable lights both for the Stage and its venue, to enrich the event experience than mere general lighting.
  5. Sound

    Soundscape not only makes communication effective but a audio experience in itself. We contract and provide suitable high end sound system.
  6. Food

    We design especially tailored and exclusive menu, execute and serve.
  7. Venue

    Identify appropriate venue conducive to the planned activity of an event.

Performing Arts

ArticulateIndia’s promoters are drawn from the Performing arts field and hence a vast repertoire has been built over the years and lists highly variegated Performing arts from Dance to Music.

Dances of India


India boasts of maximum number of performing arts in the world. The more than 3000 years of dance History has created diverse dance and music forms that has become Classic.

Bharatnatyam, Kuchipudi, Mohiniattam, Kathak, Odisi Kathakali Manipuri
  • Music: Light and Classical Instrumental in Karnatik and Hindustani
  • Ritual Music
  • Folk Music
  • Western instrumental music
  • Fusion
  • Photo gallery

Apart from Classical, numerous dance forms and music that comes under the umbrella term Traditional.

Folk Dance, Ritual Dance, Tribal, Theater, Martial
Kelike of Karnataka
Kamsale of Karnataka
Kola of Karnataka
Gangaulan of Maharashtra
Ghoomer of Rajasthan
Kalbelia of Rajasthan
Oppana of Kerala
Margamkali of Kerala
Thiruvadira of Kerala
Chadi of Gujarath
Dandiya Raas of Gujarath
Gharba of Gujarath
Tippani of Gujarath
Bhangda Of Punjab
Giddha of Punjab
Holi of Uttarpradesh
Phag of Haryana
Khadga Naman in Martial Arts Kerala-Manipur

Dance Features

  1. Durga Pradurbhava (2006)
  2. Panchavaktram (2007)
  3. Maha Shakthi (2008)
  4. Madhuradhvaitam (2009)
  5. Dhanwantari (2010)
  6. Salabhanjika (2011)
  7. Hari Hara (2012)

World Dances

Makatod of Philiphines
Kappa Malong of Philiphines
Silk Dancing of China
Buddhist Dance of Korea
Kankaria ritual of Srilanka
Mask Dance of Srilanka
Harvest Dance of Srilanka
Coconut Dance of Srilanka

Image Gallery

Stage Craft

Be it a standard corporate look or an aesthetically designed background with ethnic or contemporary look, ArticulateIndia executes to give the onlookers a visual treat.

  1. Thanka
  2. Peacock
  3. Aane Netthipatti
  4. Silver Door
  5. Violin
  6. Hoysala

Stage Craft Unlimited

The stage craft exhibited is not restricted to performing arts alone, but can be suitably adapted to non performing events.

Stage Craft Image Gallery


With many dance features in the repertory, ArticulateIndia has designed, produced and stocked exclusive costumes, Jewelry, Coiffeurs and other accessories that range from authentic to imaginative. The costumes well taken care of in terms of hygiene and upkeep are rented out.

Our Initiative in Social Responsibility

Initiative Towards Differently Abled

a) Visually Challenged Dancers

ArticulateIndia, through its associate group ArticulateAbility, a not-for-profit Trust, supports and includes the talented Visually Challenged Dancers in its cultural presentations. At present 5 young men and 12 Girls are being supported, through training, providing opportunities and paving a way to make a living from performing arts.

b) Motivational Program

ArticulateIndia furthers the cause of the trust in organizing Motivation workshops to Corporate gatherings, Schools , Colleges and special groups. The Life and times of the achievers among people with disability, are shared through interaction and performances, to build and motivate the youth and the adult alike, to face the challenges in life.

Initiative Towards young people through education Institutions.

a) Choreography for education institutions

ArticulateIndia conceptualize themes, through expert choreographers train students to put up dance features, supports with exclusive music and exquisite costumes. Undertake complete execution of the show both artistic and technical.

b) Appreciation of Indian Performing arts

ArticulateIndia brings together Exponents of various Classical Dance forms of India and Musicians, to share the artistry of Indian arts through Interesting talks, demonstrations, performances, in a informal set up that becomes an intimate interaction to inculcate and evoke interest in fine arts in the onlookers.

Dance Studio (Master Classes and Master workshops)

ArticulateIndia through its associate group Articulate conducts master classes in the following aspects of Fine arts.

  • Bharathnatyam
  • Kathak
  • Traditional Dances of India
  • World Traditional Dances
  • Choreography
  • Stage Crafts
  • Costume designing and execution
  • Stage Sound & lighting technique


Trained in Kathak Classical Dance, obtained Senior Diploma with distinction in Kathak, performed as lead dancer in productions of reputed choreographers, performed in tele-serials, a graded artist of India’s television channel ‘Doordarshan’, several home productions to his credit, choreographed several dance features for reputed educational institutions, organizes events for corporate bodies with special emphasis to Indian heritage, been part of fund raisers for the Rotary International, Art of Living, March of Dimes, Shankara Eye Foundation, co-ordinates and instructs in dance teaching to the visually challenged and children who live and stay by the streets. Traveled for concerts extensively to North America, Scandinavia, The Gulf and the Far East. Was a visiting scholar to the Michigan State University, USA


Smt Suparna Venkatesh had her training in Bharathnatyam under Guru Smt Jayalakshmi Alva. She stood first in Senior examination conducted by Karnataka education board in Bharathnatyam. She is also trained in Kathak under Smt Maya Rao, Natya Institute, Bangalore. She has obtained Diploma in Choreography and has been awarded Masters Degree in Dance from the Bangalore University . She has been awarded Doctrate for her thieses in Dance by Bangalore University. Extensively traveled, performed both in India and abroad, she has to her credit several home productions and choreographic works. She trains aspirants in Bharathnatyam at Sai Arts International, run by her husband Sri Sai Venkatesh. Her special focus is on training the Visually Challenged in the complex art of Bharathnatyam


A graduate in Arts from Mangalore University, has done courses in Event management and Interior Designing. Apart from being a very effective event manager and sales person of Indian tradition to corporate sector, he has designed costumes, jewelery and stage crafts for dance productions. An ace photographer AND VIDEOGRAPHER excelling in portraits, creative and theatrical. He has also worked as Theater light designer


Trained by Guru Smt Suparna Venkatesh, in Bharathnatyam, AND BY Guru Mysore B Nagaraj in Kathak, he has given performances in India, USA and UK and has won appreciations. His performances in Dance features of Articulate, Bangalore and Sai Arts International, Bangalore has won him accolades. Nishanth has also focused on folk dances of Kerala. His academic qualification in Fine Arts (Visual Arts) has given him an advantage for his aesthetic presentation of his art work and a picturesque performance of his dances. His curated visual arts show have won him encomiums from the media and art lovers. His thesis on COLOUR and FORM in THEYYAM and its relation with visual art has won him the Post Graduate Masters Degree in Visual Arts

Durga Pradurbhava (2006)

A dance feature on the warrior Goddess DURGA. The coming together of all the Gods and empowering the one women created by the energies of the trinity, Durga annihilates the evil Mahisha. The world celebrates the destruction of the evil and restoration of peace.

The dance feature adopts the Natya or the Indian theater technique in its narrative, and employs the Ritual, Social dances of Gujarath, Martial arts of Manipur and the colorful theater of Yakshagana of coastal Katrnataka.

  • Videos
  • gallery

Panchavaktram (2007)

Shiva, though formless, manifests in five forms in order to create the building blocks that leads to the creation of this universe. The Five shivas and his consorts together bring forth the Five elements, the earth, water, fire and air encompassed within the space. He enjoins with his female consort, in the state of Ardhanareeshwara sets the motion of creation rolling.

The dance feature is a string of classical dance forms of Bharathnatyam, Kuchipudi, Yakshagana, and Kathak. The revived art of Perini and Bahuroopiya is effectively used during the characterization. The dance of the five elements ossilates between traditional and contemporary.

  • Videos
  • gallery

Maha Shakthi (2008)

Every human being has three strengths in him, the wisdom, the desire and action. It is this that comes in stages in any endower. These energies are dietified. The sum total reprersented by Maha Shakthi, diverges into Gnana Shakthi, Iccha Shakthi and Kriya Shakthi. The female entities representing these powers, are beautifully personified as charecters culled from the Indian mythology. A glimpse of those women who exhibited these traits predominantly has been portrayed.

The feature uses the grammar of Bharathnatyam, Mohiniattam, Kuchipudi and free style apart from Ballet movements. The rituals that are performed in the temples find a interesting space in the narration.

  • Videos
  • gallery

Madhuradhvaitam (2009)

Radha is personified as the mortal and Krishna the immortal paramtma. It is the eternal struggle of the ordinary atma to seek the divine union with the lord is the esscense of this production. Love in all its different stages becomes the medium of expression.

Kathak, Raas and other folk styles are beautifully woven to bring out the divinity in the lovers.

  • Videos
  • gallery

Dhanwantari (2010)

The ambrosia that was brought out by Dhanwantari during the churning of the ocean in a quest to obtain the nectar of immortality, contains the medicinal herbs that were thrown into at the beginning of the act. Each herb and tree narrates their divine origin that forms a series of mini ballets, strung together with the silver line of the Celestial Physician. Tulasi, Parijata, Bilva, Ashwatta, Kusha and the Rudraksha are the tales that are told.

The stories employs different dance styles as it unfolds. Tulasi in Kuchipudi, Parijata in Mohiniattam, Bilva in Odissi, Ashwatta in Kathak and Kusha in Martial arts. The entire collection is a kaleidoscope of Indian dance styles, music, costumes and culture.

  • Videos
  • gallery

Salabhanjika (2011)

No Hindu temple across the world is without SALABANJIKAS in its niches. Nymphs standing languorously under the Sala tree, either holding or breaking the branches or just simply enjoying the shade in deep contemplation, is best seen on the brackets of the Hoysala Architecture Karnataka’s literary jewel Sri D V Gundappa gazed into these frozen smiles, into the raised eyebrows, into the glances and in their stance , dived into their very soul and seemed to read their thoughts for us and gave us a collection of poetry. The selected verses from his “Antahapura Geetegalu” reflect these emotions. Elaborate costumes, customized jewelry breathes life into those damsels, celebrating their love towards Keshava.

The dance feature expresses these sentiments through four different classical dance grammar of India Kuchipudi, Odissi, Mohiniattam and Kathak strung by Bharatnatyam.

  • Videos
  • gallery

Hari Hara (2012)

We come across in the annals of Indian history, the conflict between two great streams of Hinduism. From the confrontations between Vishnava, who acknowledge HARI as the supreme God and Shaiva, devotees of HARA, there arose a peace loving group who brought about a change by unifying the two deities and called their unified God “HARIHARA”. Harihara is depicted with his right half being that of Shiva (HARA) and the left as Vishnu (HARI). All the signs of these two deities are embodied in this form.

The vitality and vibrancy of the two deities are expressed in the two classical dance forms of India, Kathak of North India and Bharathnatyam of the south. The knitted segments are breathless high energy performances.

  • Videos
  • gallery
  • Stage Craft

  • Thanka
  • Peacock
  • Aane Netthipatti
  • Silver Door
  • Violin
  • Hoysala







The theme is inspired by the Thanka paintings of Tibet who share many of India’s thoughts and beliefs. The play, the interplay of the building blocks of the universe, the earth, water, fire and air- all contained in space makes an interesting visual. The colors are subdued and are on the ends of the darkest and lightest spectrum so as not to overshadow the performances done in front of the backdrop. The whiteness of the clouds and the waters pick up the colors of the lights that a lighting director chooses to suit the moods the artists would like to create during performances.


1. The backdrop is designed for a 40 feet wide and 12 feet height. Extendable, width wise.

2. The stars are created with LCD lights against a dark blue cloth background.

3. The thangka arches, the clouds and waters are created with an embossed effect giving a 3 dimensional look.

4. A running ramp of 4 feet width covering the entire width of the stage can be planned for the artists to use if necessary in their choreography.

5. The Arch can have a cutoff within itself to make entry of the artists very dramatic if they choose to.







India’s national bird Peacock fits in the concept of classical arts from more than one perspective. The colors in its plumage, the association of the bird to divine characters of Hindu beliefs, the spread of the wings during the mating dance is encapsulated in this theme. The visual will never ever distract the audience , , but will only enhance the aura created by the performers of any the type of classical or as a matter of fact any Indian traditional performing arts. The colors are matched not to overtake the dancers costumes, jewelry and coiffeurs.


1. The backdrop is designed for a 40 feet wide and 12 feet height. Extendable, width wise.

2. The entire design is based to give a stained glass effect made famous by the French and well adapted by Indians.

3. The illumination done from behind the peacock can change colors to suit the moods of the performances, or simply to give a play of creative lighting only to remove the monotony during the entire session.

4. A 4 feet wide ramp can be placed to the entire width of the stage to give scope for artists to artistically use it

Aane Netthipatti






This motif that reflects ritual tradition and that of Kerala makes a interesting backdrop and a befitting compliment to Indian performing arts. Especially classical dances of India. The embossed effect of gold work adds richness to the art. The Chatri that is highly decorated and the purity of whiteness in the Yak hair of Chamara gives artistic support to the entire canvas. The entire group is hung against a horizon where the Sun has just set and the young night is awaited.


1. The backdrop is designed for a 40 feet wide and 12 feet height. Extendable, width wise.

Silver Door






The metal crafts in India are exemplary, especially the bronze, gold and silver of the south. The Silver door in an inconspicuous space in the beautiful Palace of Mysore inspired the creation. The lotus motifs that dominate amidst the scaly boarder on the main door, framed between pillars and beam whose brackets have the inescapable attachment of the banana flower hanging is in subdued silver without causing glare to the onlooker. Artists performing in front are highlighted by the colors of the costume against a monochrome of the divine shade-Silver. The Gaps are filled with green creepers that gives a natural jhali effect, adding life to an otherwise static object.


1. The backdrop is designed for a 40 feet wide and 12 feet height. Extendable, width wise.

2. This can be broken down to a central frame with two pillars and the door for small stage.







The adopted European stringed instrument Violin in 3D is the focal point. The Musical notations that circle around the instrument give the feel of melody emitting. The 2D music sheets with undulated lines and notes fills up the rest of the cyclorama giving the coolest effect and an ambiance that is conducive to the audience. The Backdrop is intended to create an imaginary movement while the musicians in the foreground are grounded, but for the music that floats around.


1. The backdrop is designed for a 40 feet wide and 12 feet height. Extendable, width wise.

2. The width can be limited to 30 feet if needed.







The legendary lathe turned stone pillars of Hoysala architecture, with minimal embellishment but maximum visual weight, frames the cyclorama, creating interesting silhouette. Given a visual comparison, the artists who take to the floor look elegant, nimble, agile and slim frame with stocky pillars standing mutely. The plinth carries a printed selected imagery of the stone freeze of the Belur temple accentuating the width of the stage.


1. The backdrop is designed for a 40 feet wide and 08 feet height background using four pillars.

2. Visual width elongated or shortened by increasing or decreasing number of pillars employed.

3. A running ramp of 4 feet width covering the entire width of the stage can be planned for the artists to use if necessary in their choreography.

E-mail Name Phone
shakthi@articulateindia.com Shakthiprasad R Shetty 98453 26764
nagaraaj@articulateindia.com Mysore B Nagaraaj 93412 88391
nishant@articulateindia.com Nishant Aravindakshan 97400 79794
Suparna@Articulateindia.com Dr Suparna Venkatesh
@ ArticulateIndia