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Kalyani Sarada

@kalyanisarada

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Mother of moomoo @thirimiri_kittymitty
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Before @thirimiri_kittymitty, I was mummy to baby Nimbus, a tiny white kitten with the brightest blue eyes, who followed me everywhere and showed me what a wonderful experience it is to have a cat (and also the heartbreak that comes with it). I learnt new depths of love and grief. 🤍🤍 In memory of this little kitty boi who completely changed my life 🤍🤍 Thank you @houseofinkpatch for holding our story so tenderly. by @kalyanisarada
🌸🧿♥️Diaries of Artists beautifully put together by @udhayakumarphotography #artists #kochibiennale #dancer #art #nature by @kalyanisarada
Last night, the Pavilion at Bastion Bungalow came alive with Thalayezhuth, a hauntingly beautiful contemporary dance performance choreographed by Kalyani Sarada. Through a powerful blend of movement, rhythm, and embodied storytelling, performers Aswathy Chandran, Dayanand Akhilesh, Junafar, and Sonia Soney explored the depths of human expression. Set to a stirring original score by Lionel Lishoy, the evening was a true testament to the magic that happens when artists across disciplines collide. #KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing #NikhilChopra #KMB2025 by @kalyanisarada
Join us for Thalayezhuth, a contemporary dance performance choreographed by Kalyani Sarada, on 18 March at 7 PM at the Pavilion, Bastion Bungalow. Performed by Aswathy Chandran, Dayanand Akhilesh, Junafar, and Sonia Soney, the work unfolds through movement, rhythm, and embodied storytelling, with original music composed by Lionel Lishoy. This performance brings together artists across disciplines for an evocative evening of contemporary dance. Image credit: Kirthi Kumar Barik @kirthikumarphotos 18 March, 7 PM Pavilion, Bastion Bungalow, Fort Kochi. #KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing #NikhilChopra #KMB2025 by @kalyanisarada
Our Feedback sessions are offered to artists of any genre who have a work in progress and want a response from a kind yet critical group of people. Over the last few months Offstage - Grounds for Practice has had the pleasure of hosting @aninditaa_ghosh @daminigairola @gayatrishettyy and @kalyanisarada with their solo developing works. We try our best to have a feedbacking room of various artistic backgrounds and to indeed have non artists or performance makers in the room. We usually use the DASarts feedback method - shoutout to @flinn_works ! Through these intense and participatory afternoons, the artist gets to try out their experiment and gains 12 to 15 stakeholders form the community who become invested in seeing the work grow. We hope to grow live performance audiences in this way and bring artists and the community closer. Please write to us if you would like to be our next artist - any kind of performance genre is welcome and this includes theatre, film, spoken word, dance, immersive experiences and more. Also let us know if you would like to be put on a list of feedbackers ! And biggest thank you to our amazing community who have shown up and really done the work - invested time, energy, thought and feeling and as you can see much laughter and general nonsense ✨🧠🤯❤️🌹🥳👁️🤩🔥💌🗣️👣🫀👅👏🏻🤟🏻🫸🏻🤌🏻🤏🏻👌🏻 by @kalyanisarada
Swipe to read story (I have been told that the captions in the previous reels were easily gone unnoticed, so here is the full story) #10YearsofSAF #SerendipityArtsFestival2025 #SerendipityArtsFestival #ContemporaryDance by @kalyanisarada
Saha Aham is a Contemporary Dance piece choreographed and performed by me. The piece has been commissioned by Serendipity Arts Festival @serendipityartsfestival, as part of the residency Folios of Time 2.0, curated by Jayachandran Palazhy @jayachandran.palazhy. Folios of Time 2.0 includes mentorship by Ashley Lobo @ashley.lobo and Dickson Mbi @dicksonmbi, and is supported by @britishcouncil British Council and Here & Now @hn_showcase. (part 3 of 3) My plan was to slowly find my way back to dance and creation, but there was nothing slow about this idea that came back with full force. It was all consuming - I was dreaming about it, writing about it, zoning out about it, any art I consumed would connect back to it. I was terrified that another shut down was coming. BUT I was also hopeful because I really had put in the work to befriend my depression and my mind in all of its forms, and I was now equipped with more tools, and systems, and friends. So I proceeded with caution, and also sought some help. Taking every day as it came - constantly calibrating and recalibrating the relationships between my mind and my body, between my thoughts and my feelings, between the dancer, the choreographer, the teacher, the friend, the child in me, between the days when the movements flowed easily to the days when they just wouldn’t, between the moving days, the thinking days, and the testing days - I realized that this time the walls are not going to go back up. Now the marination is over, the piece is ready, and I am ready to share this experience. I can’t wait to see how it will continue to evolve once it’s out in the world. Thank you so much to everyone who has been a part of this journey! It would have been impossible without your help. I'm so so so so beyond excited to perform it!!! #10YearsofSAF #SerendipityArtsFestival2025 #SerendipityArtsFestival #ContemporaryDance by @kalyanisarada
Saha Aham is a Contemporary Dance piece choreographed and performed by Kalyani Sarada. The piece has been commissioned by Serendipity Arts Festival @serendipityartsfestival, as part of the residency Folios of Time 2.0, curated by Jayachandran Palazhy @jayachandran.palazhy. Folios of Time 2.0 includes mentorship by Ashley Lobo @ashley.lobo and Dickson Mbi @dicksonmbi and is supported by the British Council @inbritish and Here & Now @hn_showcase. (Part 2 of 3) Now and then the idea would peek its head out, but never long enough for me to develop it into a piece, and before I knew it the walls would be back. Some of those times were more frustrating and heartbreaking than the others. Then I took my rather dramatic break from all things dance and art, and worked on myself from many different angles. Something must have worked, because … In the beginning of this year I made the (secret, private, hesitant, cautiously optimistic) decision to return to dance. By this time I had become entirely sedentary, often horizontal and only occasionally semi-vertical - a far cry from earlier my super active, fit, physically strong, dancer self. The return to dance had to start with re-learning to be vertical. I started with walking around a nearby lake - 1 round, 2 rounds, and then 3 rounds, then I started collecting points on my Finch (self care pet) app by doing 10-second planks, which evolved into some basic body weight exercises, and some sporadic visits to the gym and some dance classes, then, in July I warily walked into a yoga TTC that rocket-launched me back into my body - reminded me that my body remembers - and got me to the physical and mental space where I could more confidently return to dance. Aaaanddddd then the walls came down... by @kalyanisarada
Saha Aham is a Contemporary dance piece choreographed and performed by me. The piece was commissioned by @serendipityartsfestival 2025, as part of the residency, Folios of Time 2.0, curated by @jayachandran.palazhy. Folios of Time 2.0 includes mentorship by @ashley.lobo and @dicksonmbi. Supported by @inbritish British Council, and @hn_showcase Here & Now. Here is a little story... (Part 1 of 3) Saha Aham is an idea that has been marinating in my mind for many years.  In 2022, I attended a Watch-and-Talk Residency at the Belluard Bollwerk festival, Fribourg. I met some wonderful people and we spent the festival watching and discussing ALL of its shows, and in doing so we also spoke about art in general, the art we wish to see, and the art we wish to make.  And the question of “What art do I really want to make” was violently bouncing around in my skull like a supercharged neon coloured crazyball. Then, all of a sudden - unexpectedly and uncontrollably - the idea poured out of me. It was during a concert in a church, at the same festival, the words and images flowed - from some space not really in my mind’s conscious realm - directly onto the pages of my note book. To say I was excited but overwhelmed would be a huge understatement for both of those emotions.  Now I had this idea that appeared in front of me already half baked; a piece that I really wanted to create; an artistic calling I’d always dreamed of but had never felt before. AND I had the opportunity! My friend, Pankaj, who had recommended me for this residency, had also planned a second residency for me where I could use his studio, create a work-in-progress, and even have an informal showing of the work to some other artists in his network. The kind of opportunity one would kill for. Everything was falling into place, all I had to do was do it. Unfortunately, it was not my time. Just as the idea’s revelation was unexpected and uncontrollable, so was its complete shut down. No matter what I tried, no matter how much I wanted it I could do nothing about the impenetrable walls that had gone up around my body and mind. Thus began the great marination.  #10YearsofSAF #SerendipityArtsFestival2025 by @kalyanisarada
🌿 Communication, communication, communication  🌷Learning how to communicate 🌷Communicating with people who are important to me  🌷Self talk 🌷Kittiya kitti poya poyi (KKPP) communication  Being in therapy since 2019, one of my biggest learning is learning to communicate. Therapy helped understand my thoughts, the ways that I talk to myself and to people, the ways that miscommunication and misunderstandings happen, the ways that I do not talk, etc etc.  Everyone says “reach out”, “talk about your feelings”, “ask for help”. But it's so bloody difficult to do, and I had to learn how to ask for help, and also teach my closest circle how I want to be helped.  In the past, during full on Dep times, I tried to open up to people. To me, it felt like sharing parts of me that I hated the most, that I was most ashamed of, that was most fragile - and so it was extremely difficult to speak up, because I had to get past all of my own mental barriers and the tightness in my throat and the heaviness in my bones to do so. Also, because the content is so emotionally loaded, a lot of the time what I said was not articulate at all - what I felt and I what I said would have sooooo much distance between them. In those moments of complete vulnerability, I'd want the listener to do something, help me in some way - but I didn't know what or how. It was just pure desperation. BUT for the listener also, it was a lot - most of the thoughts/behaviour would have been difficult to hear and witness. And they wouldn't know what to say or to do. And so the desperation and vulnerability would turn into disappointment and a feeling of being misunderstood, and like sharing was pointless. Which is why this learning to communicate was key.  (Continued in the comments) by @kalyanisarada
Befriending depression learnings: (In no particular order) 🌿 Anger and Sadness are protective emotions Anger, irritability, sadness, grief, overstimulation, shutting down, and so many more “negative emotions” are actually more like anti-heroes than villains. Their purpose is to protect. They don't mean to hurt, disrespect, self sabotage, distance from everyone, be unprofessional and unproductive, and so on. But they may do just that in their efforts to protect, and then get the bad press.  Just like a person who is angry or withdrawn, the emotions themselves need to be hugged and held and witnessed and understood. So that they don't have to be so loud, destructive, and in fight, flight, freeze mode all the time. So that they can do their job when it's necessary and then realize that we're safe and move on, and go rest themselves. Having said that, this isn't understanding without accountability. When it comes to the actions of these protective emotions, accountability and responsibility can take many different forms. But more on that later. by @kalyanisarada
Befriending depression learnings: (In no particular order) 🌿 I don't PUSH myself anymore It may seem counter intuitive, but by not pushing, by not keeping my gaze and mind focused on achievement and growth, I'm able to find a lot more freedom, acceptance and funnily enough growth. This is especially true for dance and art making, but is applicable to all other aspects of my life. Not pushing is permission to rest. To honestly meet my body and mind where they are. To accept that I have a natural predisposition to depression, and so find a way to befriend it and coexist with it. by @kalyanisarada

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