Kinetic presence is a sensation observed by both audience and performer. Although it might seem meditational, it is not focused on the internal.  Rather, it is a material presence, and an external moment that all performers and audiences share and create in the space. Interaction occurs in the subtle shifts of experience amongst both performer and audience.  Pathways of awareness cycle through the space where even a gasp from one person can shift a perspective of another. Kinetic presence is the result of audience and performer arriving at this dynamic phenomenon of connected knowledge. It is a shared notion of beauty where an ideal moment of communication has been attained.

Kinetic presence might seem in some way like 'rasa', which uses tools of emotional expression 'bhava', and sometimes practiced as the literal juxtaposition of hand gestures and facial expression to find an ideal connection between performer and audience.  However, kinetic presence is more than this shared narrative moment.  It exists as a pathway of sensations broken down from the gross emotional contexts ricocheting from body to body throughout the space.  

The dancer creates, asserting control as a shaper over the ever changing space that the dancer  moves in. This space is a psychological and physical location where physical/emotional knowledge and technique are permitted to dominate communication. The dancer submits to a fearlessness of the unknown, and a fundamental belief in an ability as dancer to continuously reconnect and rearticulate. The dancer moves beyond the physical limitations of the body, and sees possibilities of movement and interconnectivity. The dancer use structures within the design of the performance as an opportunity to be aware of yet another exploration of a moment that will be lost in memory. It is from this frame of thinking, that a powerful theatrical mechanism of dance (natya) can be realized. It is within this dance paradigm that Aniccha Arts lives and breathes.