This production narrates story of Krishna, the blue god, from his childhood spent stealing butter, to an adolescence of teasing milkmaids, to the pivotal moment in which he reveals himself in all his glory on the battlefield of Kurukshetra.

Rao choreographed this production at the intersections between the movements of Bharatanatyam and ballet, a choice that is even mirrored in the piece’s music. Nrityantra is therefore an amalgam, showing Rao’s deep understanding of Bharatanatyam’s structure as well as her understanding of a dance form as different from it as ballet.

A group production that focused on the nodal geometric shapes, natural angles that the axis of the body makes with the limbs while dancing and postures from temple sculptures. Production demonstrated that there is mathematics in dance, and dance in nature.

A collaboration work where an unexpected trio of dance companies serendipitously connect in a presentation of classical and experimental American and South Indian Dance all aligned bringing together Group Motion, Headlong Dance Theatre, and Three Aksha in the work SAM GAM BAM.

Bharatanatyam-trained dancers explore the depth and scope of dance theory and movement through the spectrum of universal human emotions.

“Civilian/Warrior Revisited” weaves the 19th-century German play Woyzeck, Indian Kali myth, and interviews and imagery from recent war veterans to create a unique narrative on soldiers and citizens in our modern-day culture of war. This unique combination of live dance and projected image combines elements of documentary film, multi-screen video installation, and movement in hybrid between theatrical work and gallery installation.

Born a couple of days apart on opposite sides of the world, Rao, and Miro Dance Theatre Co-Director Amanda Miller both began their classical training at the age of four. Thirty years later, following professional classical careers, they are both engaged in their own unique forms of contemporary dance.

As part of the Philadelphia International Festival of the Arts, inspired by the artistic spirit of 20th-century Paris, experimental performance artist Ryat, Cuban-born percussionist and composer Francois Zayas, and Rao combine their creative talents in live music, dance, video, and spoken words.

3×3 is a solo work by Viji Rao, that focus on three dance movement vocabularies—classical and contemporary Bharatanatyam, and Chhau—enabling Rao to examine pure Indian dance movement as a soloist. The creative departure point was the Hindu goddess Devi in three of her many incarnations that represent the multi-faceted approach to this dance project. The movement incorporated new techniques, style, and interactivity by choreographers from two different countries across the world. The result comprised of three new dances on a shared theme, choreographed by internationally respected artists:

Professor C.V. Chandrasekhar, Hari Krishnan and Santosh Nair. This work highlights Rao’s storytelling prowess and her commitment to showcasing strong female characters.

Hindu philosophy says that life is temporary. It is created, sustained, and ultimately destroyed. Moksha, or “release,” is the final liberation of the soul from this cycle of death and rebirth. In the work Pushkara the journey of life cycle is revealed. This piece gained critical acclamation for its innovative use of traditional adavu patterns to convey life cycle.

The world’s oldest stagecraft was staged in the vibrant performance of traditional Indian music, dance and video mapping by Three Aksha, a group dedicated to preserving and promoting Indian culture through Bharatnatyam. Natyashastra is the oldest surviving text on dance and music in the world. Experience the artistic direction of Viji Rao, whom the Philadelphia Inquirer has called a “theatrical visionary” along with choreography by Kiran Subramanyam.

A celebration of pure dance, abhinaya, nature and music that brings the joy back to the world. This work represents our rich culture and heritage of India. . This work examines themes of cultural identity and globalization.  

One of the world’s oldest and most treasured tales, Ramayana, illustrated through Bharatanatyam and Bunraku, a traditional Japanese Puppet. Challenge of it being pandemic, the theatrical and dance work was created in Japan and USA and Music was created in India. The culmination of the story and portrayal was on green screen and It landed up being a movie project instead of live showcase. 

A dance piece on Navadurga, symbolizing the nine forms of Adi-Shakti, Goddess Durga. Devi precisely takes the forms of nine durga’s namely Sailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamatha, Katyayani, Kalarathri, Mahagauri, and Siddhidatri. A traditional composition in Sanskrit. This work showcases Rao’s ability to bridge ancient mythology with contemporary presentation styles.

A collaboration work of Three Aksha with Tribhangi Dance Theater from South Africa. This work brings together both, Indian and African traditional and contemporary dance nuances creating an open dialogue on how art can illuminate the world. Indian nuances were created by Viji Rao and African-Contemporary by Tribhangi. 

Vibhava-a composition of Jayadeva – Illustrating the ten incarnations of Lord Krishna through classical dance Bharatanatyam. Original Choreography by Prof. C.V Chandrasekar. Choreographic nuances incorporated by Viji Rao. A group dynamic work that mesmerises one and all with precision and synchronization of choreography work.

A work that brought together an ensemble of 33 Chanda artists, 2 Konnakol and 15 dancers on world stage at Carnegie Hall in New York City. First of its kind, where the music score was filled for traditional Bharatanatyam with only Chanda and Konnakol. Music direction by Praeen D Rao and choreography Viji Rao. This ground-breaking work explores the intersection of classical Indian dance with non-traditional dance music thus demonstrating Rao’s versatility as a choreographer