[4] She created a large corpus of dance compositions, where she applied an analytical and innovative approach to abhinaya.
[1] She also learnt Hindustani music from the musicians Keshavrao Bhole and Vasantrao Deshpande,[1] and obtained a doctorate in Kathak.
This travel was an opportunity to her to study old scriptures relating to Indian dances and drama, and thus refined her technique.
[7] Rohini Bhate authored several books in Marathi, including her autobiography, Majhi Nrityasadhana, a translation of the autobiography of Isadora Duncan, Mi Isadora, and an edited version of the Sanskrit manual of music and dance, Abhinaya Darpana, called Kathak Darpana Deepika.
[8] Regarding collaborations with other artists, Rohini known the Hindustani classical tabla player Chandrakant Kamat when he came to Pune in 1952.
[9] Rohini also made a comparative study of abhinaya in Kathak and Bharatanatyam with Kalanidhi Narayanan.
[3] Rohini Bhate performed extensively for five decades,[1] and trained a large number of disciples who became important exponents of Kathak,[10] such as Shama Bhate,[11] Neelima Adhye, Prabha Marathe,[6] and Prerana Deshpande,[10] among several others, who continued to perform posthumously events in her honor.