ALL IMPROV by Parth Sethi Is Rewriting the Rules of Dance

Parth Sethi had no intention of fitting into New York. He came to break patterns. In ALL IMPROV, he is doing just that.

New Delhi [India], December 13: Parth Sethi came to New York City in 2017 as a student at the Broadway Dance Centre. Similar to thousands of his predecessors, he carried ambition, training, and an accent, which made him different. But he was not like most; he remained curious. That interest turned out to be his advantage.

Sethi not only spent more than six years studying movement research, awareness, and improvisation theory but also made it a mission. The outcome is ALL IMPROV: an extreme program which has reduced dance to the barest essence of the truth. Prior to movement, there is the mirror; awareness precedes aesthetics.

That was not a safe strategy, as an Indian-origin dancer had to survive in the most difficult world of dancing in America.

What the ALL IMPROV Is All About.

ALL IMPROV is not a workshop. It is not a style. It is a system.

The program is based on over 250 original exercises and challenges dancers and non-dancers to reconsider the origin of movement. The partakers experiment with movement using body parts, spatial relations, fantasised settings, and ever-changing points of view.

No rehearsals, no stage to imitate, no acting required. The keyword being targeted is plain and straightforward: Parth Sethi ALL IMPROV. This is not an imported methodology but one written.

ALL IMPROV, the fifth edition, has since been participated in by more than 120 people. There are also trained professionals, and there are those who are complete novices. All receive equal treatment. The fact that inclusiveness is not marketing, but it is structural.

Why Non-Dancers Thrive First

This is the irony: the non-dancers tend to move more quickly.

Why? The fact that they are not bound by muscle memory or aesthetic conditioning. They move without judgment. They do not have to be impressive to wear.

Sethi created ALL IMPROV as an incentive to investigate rather than refine. Those who do not dance go into instinct. Meanwhile, professionals need to delearn the habits which are no longer beneficial to them. This twin effect has taken the shape of the strength of this program.

A number of the dancers attribute ALL IMPROV to the opening of creative blocks that have been developed through years of competitive training. It is what other people refer to as grounding or therapeutic. The common thread is freedom.

Faculty Recognition and Full-Circle Validation.

The dance world noticed.

Sethi became a teacher after a favourable reaction to choreography classes at the Broadway Dance Centre and Peridance Centre. He is currently a guest and substitute faculty member at the two institutions.

There are two milestones that were struck hard and fast in 2023. He secured his O1 artist visa. Then he moved back to Broadway Dance Centre on a faculty basis. That was the moment which was vital to an Indian artist whose credibility was frequently doubted at the very beginning.

It is not an overnight success. It is the consistency of the compound.

A Portfolio That Talks Volumes.

The performance and choreography resume of Sethi is a controlled ambition.

In 2025, he staged a massive improvisation project on a roof in Brooklyn, which was captured by a drone, with 50 dancers. It was not merely as a spectacle; it embodied improvisation as architecture.

He is also featured in an upcoming Netflix production titled Best of the Best, which is produced by Hasan Minhaj and is scheduled to release in 2026. He played in Beyond Babel by Keone and Mari Madrid, a renowned production all over the world. In 2024 and 2025, his original works were presented at the Choreographer Carnival.

He also trains in hip-hop and choreography at Eastside Dance Company and has choreographed twice in the Professional Semester, Broadway. This range matters. It demonstrates that ALL IMPROV is not a vacuum theory–it is translated.

The ALL IMPROV Experience.

All IMPROV intensive combines movement exploration with writing activities and facilitated awareness devices. Individuals are pushed to express what they experience, not what they do.

It is a refuge characterised as a place where movement is made human again by Sethi.

Many traditional dance training methods focus on repetition and correction. ALL IMPROV refutes it by beckoning curiosity. Errors are not defined; they are discussed. That philosophy is spreading, particularly among dancers who are weary of being judged all the time.

Why This is Important in the Dance Economy of New York.

The city of New York is not generous to innovators. It pays obedience in the name of excellence. ALL IMPROV is able to survive on the basis that it gives results without getting corrupted. It still has a diverse audience. Actors, movers, dancers, and non-formally-trained people continue to appear. Such consistency is an indication of relevancy. Sethi is planning to create an online book containing video examples, and also to create a specific company in New York City improv. Neither extension is ambitious but inevitable.