Nadanam Dance Academy presents
Kashish's
Arangetram
Bharatanatyam debut · margam recital
The invitation
Tripti and Sandeep cordially invite you and your family to the Arangetram of
Kashish
Disciple of Guru Smt. Deepali Ravi
Chief guest
Smt. Deepa Krishnamurthy
Bharatnatyam Dance Teacher
Founder, Nrityakshethra
Evening schedule
A few notes for your visit
Venue
Sector 4, HSR Layout
Bengaluru, Karnataka 560102
The Arangetri
Kashish
For the past thirteen years, Bharatanatyam has been the rhythmic heartbeat of Kashish's life. Her journey in this sacred art form began as a young child, under the dedicated guidance of her Guru, Smt. Deepali Ravi, at Nadanam Dance Academy.
To Kashish, this dance form is a sacred language — a blend of disciplined precision and soulful expression. Her commitment to the art is reflected in her successful completion of the Madhyama Purna level exam from the Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai.
Beyond the classical stage, Kashish is a versatile performer who has participated in two musicals at her previous school, Bethany High, and has performed in numerous productions with Nadanam Dance Academy. Currently a Grade 12 student at GEAR Innovative International School, she balances rigorous academics with a keen interest in sports and art.
As she prepares to pursue a career in Design, Kashish views Bharatanatyam as her first teacher in aesthetics and composition. For her, every adavu is a design in motion — and this Arangetram is a heartfelt offering of the discipline and passion she has nurtured for over a decade.
The Guru
Smt. Deepali Ravi
Deepali Ravi approaches Bharatanatyam as a deeply expressive art form, where movement and abhinaya come together to convey emotion and storytelling — rooted in discipline, sensitivity, and reverence for its aesthetic and spiritual essence. Based in Bangalore, she is the founder of Nadanam Dance Academy, where she nurtures students in both technical precision and artistic depth.
She holds a Master's Degree in Bharatanatyam from Pune University under Guru Smt. Sucheta Bhide Chapekar, and performed her Arangetram under Guru Smt. Manik Ambike. She has also trained under eminent Gurus including Acharya Parvati Kumar, Late Sri C.V. Chandrashekhar, Late Dr. Kanak Rele, and Smt. Vidhya Subramaniam.
Her artistic journey spans performances in India and abroad, teaching at institutions, and recognition for her contribution to the arts — including a feature in "21st Century Belongs to Them," presented to former President Dr. A.P.J. Abdul Kalam by the Lila Poonawalla Foundation.
Programme · The Margam
A journey through the temple
In the Bharatanatyam tradition, the margam is a sacred journey through a temple — moving from the first glimpse of the divine to complete surrender. As envisioned by the legendary doyen of abhinaya, T. Balasaraswati, each piece reflects a space within the temple, guiding the devotee inward.
This evening's repertoire celebrates the many facets of Lord Krishna, an incarnation of Lord Vishnu — expressing his beauty, playfulness, and divinity through rhythm, melody, and abhinaya.
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Invocation
Kasturi Tilakam Shloka
An invocatory verse offering the first darshan of Lord Krishna's divine beauty — preparing the mind for the spiritual journey ahead.
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Gopuram · Temple Tower
Khanda Alarippu
A pure nritta (abstract dance) piece, awakening the body and mind and marking the dancer's formal entry into the performance.
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Kautuvam “Hari Narayana”
Blending nritta with devotional elements, this piece invokes Lord Vishnu — establishing a vibrant and reverential atmosphere as one steps into the temple.
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Ardha Mandapam · Outer Hall
Jatiswaram
A composition of swaras and jatis, this pure nritta piece showcases rhythm, geometry, and precision without sahitya.
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Mandapam · Great Hall
Shabdam “Ayar Sheriyar…”
With the introduction of sahitya, storytelling begins. Through abhinaya, this piece portrays scenes from Krishna's childhood — his playful interactions with the Gopis and his enchanting presence that captivates all.
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Garbhagriha · Sanctum
Varnam “Sakhiye Inda Velayil…”
The central and most elaborate piece of the recital, seamlessly weaving together nritta and abhinaya — portraying the nayika as a Virahotkanthita Nayika, one consumed by devotion, longing, and separation from Krishna. In moments of emotional vulnerability, she turns to her sakhi, wondering why she teases her at such a delicate hour, when every thought and feeling is already immersed in him.
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Kriti “Swagatham Krishna…”
A sahitya-rich composition expressing joyous welcome and devotion, celebrating Krishna's leelas and charm.
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Padam “Maadu Meikkum Kanne…”
An abhinaya-centric piece depicting a playful dialogue between Yashoda and young Krishna — where she questions his mischief, and he responds with innocence and charm, revealing his endearing, childlike nature.
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Meera Bhajan “Piya Bina Suno Che Ji Mharo Des”
A deeply devotional piece expressing longing, surrender, and an intimate connection with the divine.
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Tillana
A vibrant pure nritta finale — radiant and uplifting, like the final aarti.
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Concluding
Mangalam
The concluding prayer — offering gratitude and seeking blessings, as the dancer completes the journey and carries the divine experience within.
Music ensemble
The accompanying artists
Credits
