This project began with Kaustavi, a dance scholar and classical Indian dancer, who recorded a segment of an Odissi dance performance using motion-capture technology. Once the movement data was captured, she was then able to represent it in a range of visual forms simulated in 3D space, which raises an interesting range of questions about the dancer as both embodied performer and digital composer, offering her performance [in digital space] a new range of representational choices and options. She then made connections with collaborators for exploring the rich implications of her mocap data, including professional animators, fashion designers, and scholars interested in the aesthetics of digital knowledge representation. This article seeks to synthesize the findings and practices of these varied collaborations in conversation with scholarship on dance and technology, Indian aesthetic theory, digital composing, and digital cultural representation, In particular, this project explores the question of whether rasa can be communicated via digital spaces/platforms, and illuminates some of the nuances/frames through which such a question comes to be raised in the first place. In connection to recent conversations on embodied digital composing in both digital media and dance studies [cite names from both fields], our project seeks to explore how the dancing body can compose digitally through the use of motion capture technology. In particular, we are interested in the concept of rasa (or the affectively experienced encounter between dancer and audience generated via the interface of the dancing body) and whether rasa can be generated across digital spaces. Situating our investigation in the Indian classical dance tradition of Odissi, we examine video capture, motion capture, choreographic notation/movement analysis, and framing narrative in order to map the experiential architecture underlying the generation of rasa. Ultimately, this project takes up the postcolonial implications for new collaborations between the Odissi dancing body and digital technologies: not to trap/archive/freeze/commodify the dancing body through recording technologies, but rather for the dancing body to extend itself as an active composer into (and of) digital space—an equal collaboration between the body, Odissi tradition, and digital media as complementary dance technologies. Our project additionally argues for the fusion of theory and performance as a valuable research methodology for investigating embodied digital composing through both the project’s focal data (created by one collaborator, an Odissi dancer) and its design (created by another collaborator, a [digital artist/web designer]). We first establish our informing frameworks of rasa, digital composing, and digital folklore/[cultural representation]. Next, we offer background on Odissi as a classical Indian dance form, and in particular its relationship to collaborations between dance and motion capture technology. At the heart of our paper is an analysis of the different forms of representing motion capture data, considering both the affordances and constraints in each mode of data representation in terms of generating/communicating rasa. We then synthesize our analyses of each representation and close with an overview of our project’s implications for our collaboratively combined fields.