The Raadha Kalpa method is a pedagogical structure developed for the practice of Classical Indian dance forms and Bharatanatyam specifically. This method of practice and training has been developed by Rukmini Vijayakumar through her study of varied knowledge systems over the course of the last 15 years. The method encompasses structured and specifically designed practice that develops awareness of physical alignment through muscular activation and engagement. It progresses to efficient dynamic transfer in the implementation of technique and skill. The traditionally prescribed progression of skill is supplemented with allied exercises that ensure the advancement and inclusion of every type of student. The skills (physicality, aesthetics, rhythm, artistry) are introduced individually and not taught as a finished product during the practice of repertoire. Imagination and creativity are addressed as separate qualities that are necessary in the development of a classical dancer, and exercises to develop specific qualities in these areas are introduced with precision and well structured progression of content.
The Raadha Kalpa method is a pedagogical structure that aims to create an efficient, malleable, aligned, and aesthetically coherent body, that holds within it, varied dynamics that are deferred in expression. Neutrality is an essential part of the Radha Kalpa method. The neutral body, informed in any vocabulary allows the maximum possibilities of expression. Neutrality in emotion allows honest response in a character. The method aims to create a dancer that is not only theoretically knowledgeable, but also creatively aware, with a mind that allows ideas to soak and flower. It progressively builds the ability to imagine, and respond honestly to imagined circumstances.
The core of the method lies in the creation of “neutrality” in both mind and body. The neutral dancer becomes an empty canvas informed with vocabulary devoid of dynamic accents. The dynamic accents can later be added to inform context, content and intent within choreography. A dancer with physical and dynamic accents repeatedly reinforced during the training process becomes less malleable in varied contexts of intent. This idea is unique to the Raadha Kalpa method, as the idea of a Bani in Bharatanatyam is defined by the embellishment of dynamic accents.
The Raadha Kalpa method attempts to strip the training and practice of Bharatanatyam from any and all dynamic accents in the practice and training stage. The accents are added in choreography and context, and therefore do not limit the body to one or another accent, thus expanding the possibilities of the Bharatanatyam vocabulary itself.
The neutral body is achieved through a layering of methods that include both physicality and intent. The physicality is necessary to enable the intent. The intent is necessary to manifest dynamics. Both go hand in hand, and are developed simultaneously. The physical body, with a perfectly aligned spine and functioning core are essential for developing neutrality. Neutrality in emotion is a much more difficult state to achieve. It comes from having a coherent imagination and an empty mind devoid of expectations and outcomes from the character portrayed. The mind can only be empty if the dancer is proficient in skill, aesthetic of movement, rhythm and technique, such that they are second nature. A mind engaged in remembering choreography or physical alignment can never be empty. The process of creating a neutral mind, is a longer more arduous process and the student must be inclined and able to surrender to the uncertainty. Some people achieve this quality intuitively. The RK method however has prescribed exercises in imagination and harnessing emotion during the training process, such that the neutral mind becomes accessible to a larger number of dancers.