Yale Dance Lab announces Spring 2024 performance featuring Brinda Guha’s Mohabbat

Yale Dance Lab announces Spring 2024 performance featuring Brinda Guha's Mohabbat

December 20, 2023

Yale Dance Lab Announces Debut of Commission by Brinda Guha: Mohabbat

On Feburary 10th in the Yale University Crescent Theater,  the Yale Dance Lab will debut Mohabbat, a commisioned piece by  the choreographer Brinda Guha. Ticket reservations can be made at: Upcoming Events | Undergraduate Production (yale.edu)


Brinda Guha (she/her) identifies as a non-disabled, caste-privileged, cisgender and queer South-Asian American based on Lenape land, colonially known as Manhattan, NYC, and is a trained Bessie-nominated Kathak and Contemporary Indian dancer. During training and performing for years in the Kathak (Malabika Guha) & Manipuri (Kalavati+ Bimbavati Devi) dance disciplines, as well as Flamenco (Carmen de las Cuevas; Dionisia Garcia) and Contemporary Fusion vocabularies, she co-founded Kalamandir Dance Company in 2010. She’s choreographed for many national stages and self-produced original feature-length dance productions which earned her artist residencies at Dixon Place (2018) and Dancewave (2019) to continue to develop work. Now, she is represented by CESD Talent Agency and is pursuing artistic direction, performance and arts education. She trains in Kathak, Manipuri, Yorchhā (est. Ananya Chatterjee), and Contemporary. Brinda actively dances with dynamic all-female multicultural percussive trio Soles of Duende, featuring Flamenco (Arielle Rosales), Tap (Amanda Castro), and Kathak (Guha). Her dream of having art meet activism was realized when she created WISE FRUIT NYC, a seasonal live arts installment (est 2017) dedicated to the feminine divine and honoring select women-led organizations. She is also the Senior Producing Coordinator for dance service organization Dance/NYC. Visit www.brindaguha.com for more info.


Brinda Guha’s work is rooted in the legacies of Contemporary Indian dance, and yearns to reach spaces where qualities of community, transparency and womanhood are centered. The ideological philosophy that drives the work forward values the notion of moving circular axiologies (and its respective centripetal forces and rooted, cultural fabrics) in a forward-thinking way as it pertains to South Asian diasporic movement forms. Imagine a helix: circular and expansive. Brinda’s choreographic ideas are powered by deconstructing classical aesthetics in a way that functions generously because of the human emotionality and necessary storytelling elements that cradle and power the work’s process. This semester, Brinda plans to build a complex piece called “Mohabbat”, a meditative song about love and letting go