Our Repertoire

"The Circle Is Unbroken, by Daniel Phoenix Singh, offered a sensitive and thoughtful close to the evening. Drawing from the naturally occurring shapes of spheres and circles in the universe, the choreography, anchored in Ilaiyaraaja’s characteristically evocative instrumental textures, evoked the strength of communities moving together in continuity and connection. Daniel dedicated this piece to “liberation struggles everywhere”, reminding us, gently yet powerfully, of our own strengths as individuals and as communities as we move in harmony. The dancers: Sriyuktha Ganipineni, Akshara Girish, Samhitha Gurram, Anjana Kuttamath, Mytreyi Nair, Ritika Reddy, Pragnya Thamire, and Deviga Valiyil—brought Daniel’s musically guided vision to life with grace, their movement phrases marked by precision and confidence... By Dr. Anita Vallabh

"The Ardhanāreeshwara Stotram is, as the program note rightly describes, a “harmony of opposites—masculine and feminine.” Choreographed by Pragnya Thamire and performed by Sriyuktha Ganipineni, Anjana Kuttamath, Mytreyi Nair, Pragnya Thamire, and Deviga Valiyil, the piece radiated energy, power, and joy. The dancers used the stage space in interesting ways, creating patterns, dynamics, and shifting dimensions that enlivened the choreography. Particularly striking was the way the choreography began in direct conversation with the music, signaling dynamism within stillness and eventually circling back to that very place." By Dr. Anita Vallabh

"Resonance' concluded with a vibrant touch of contemporaneity in 'The Circle Is Unbroken', exploring the power of spheres and circles. Pulsating with life and vigour, it was a group choreography by Daniel Phoenix Singh featuring dancers Sriyuktha Ganipineni, Akshara Girish, Samhitha Gurram, Anjana Kuttamath, Mytreyi Nair, Ritika Reddy, Pragnya Thamire, and Deviga Valiyil, all dressed in pastel shades. The quicksilver movements of the dancers were a visual depiction of 'some of the most frequently occurring shapes from the planets and stars, to the circular motion of waves, the softness of circular pathways in a harsh and rigid world." By Manjari Sinha

'Ardhanareeswara Stotram', presented by Kalanidhi Dance Company. The captivating group choreography by Pragnya Thamire with five dynamic dancers, Sriyuktha Ganipineni, Anjana Kuttamath, Mytreyi Nair, Pragnya Thamire, and Deviga Valiyil, portrayed the divine form of Shiva as Ardhanareeswara. Praising the composite form of Lord Shiva and Goddess Parwati, it highlighted their inseparable unity. The dancers embodied this union, with feminine and masculine grace alternately symbolising creation and destruction, grace and intensity, that existed as one. The lyrics by Adi Shankaracharya described this contrast with her golden radiance and his ash-smeared form, her musk and saffron against his camphor-white sacred ash, her jewelled beauty against his serpent ornaments, her lotus-like eyes with his three-eyed gaze, her garlands of flowers with his garland of skulls. Together, they revealed the inseparable harmony of opposites in their combined roles in creation and destruction, offering blessings of long life, good fortune and spiritual realisation to the devotees who recited the stotra with devotion. The music for Ardhanareeswara was composed by Sweta Prasad in Ragamalika, Panch Gathi talam, perfect for the imaginative choreography of Pragnya Thamire, herself groomed in the signature style of Guru Vempati Chinna Satyam under the watchful guidance of Guru Anuradha Nehru and the intense training of Guru Jaikishore Moslikanti. Now serving as the Assistant Artistic Director of Kalanidhi Dance, Pragnya brings deep knowledge, technical precision, and compelling stage presence to both ensemble and solo works....... By Manjari Sinha

Kalanidhi Dance Company lit up Day 1 of the Erasing Borders Dance Festival with Ananda Tandavam (The Dance of Bliss) — a Kuchipudi piece that honors Lord Shiva as Nataraja, embodying creation, preservation, and destruction. With their hallmark blend of tradition and innovation, the dancers brought intensity, rhythm, and devotion into a powerful celebration of movement and spirit.

The Kuchipudi dancers, Sriyuktha Ganipeni,Anjana Kuttamath,Mytrey Nair,Pragnya Thamire, and Deviga Valiyil, performed Ānanda Tāṇḍavam:the dance of bliss, with perfect synchrony, skillfully using the stage space to infuse the choreography with energy and joy while evoking the emotional grandeur and intensity the Tāṇḍava embodies. Soft yellow lighting enhanced the performance, underscoring both power, grace, and poise........ By Dr. Anita Vallabh Ph.D

Washington DC based Kalanidhi ensemble followed with Ananda Tandava, a kuchipudi work embodying Lord Shiva’s cosmic dance as Nataraja. With five dancers, the work opened with a vrittam in ragam Keeravani, building momentum with coordinated movement and an explosion of energy in the form of an exhilarating jathi. Even as the group thinned to two, the intensity remained, culminating in a solo jathi that earned spontaneous mid-performance applause. Sculptural poses, particularly those evoking Shiva clad in serpents, were striking with excellent use of limb extensions, while duets conveyed the cosmic vigor of Shiva’s dance. The choreography was vibrant and expansive, making the audience’s eyes dance across the stage as dynamically as the performers themselves. The finale brought all five dancers together in seamless coordination, leaving no doubt about the ensemble’s command of the art form, discipline and rehearsal.

"The packed-to-capacity Kreeger Auditorium in Rockville, Maryland was on its feet with loud applause for 'Dancing With Shiva: The Manifestation of Primal Rhythmic Energy' presented by Kalanidhi Dance, on the 27th of September 2024." - Manjari Sinha

Every detail, from music and choreography to aaharya and stage props, reflected a meticulous attention to excellence. The presentation was a visual and artistic feast, leaving the packed auditorium brimming with enthralled rasikas. It was an extraordinary celebration, marking the 100-day milestone of Soorya Festival and epitomized the festival's commitment to showcasing excellence in the arts.

"Nehru uses Kuchipudi, the deliciously graceful yet rhythmically pungent South Indian classical form, as the expressive base from which she urges her eight dancers onto an epic and expressive quest. “Navarasa" blended both traditional and contemporary elements in a fully realized evening.”

"The Kalanidhi combination of bright energy, full-bodied sweetness and rapid precision; its wealth of multidirectional focus, physical detail and expressive nuance: the abundant spectacle of its groupings and geometries; its multilayered connection to its music; the beautiful pliancy of the spine; the vitality of the feet and arms: these make for a rare amalgam of prime dance virtues."

“American-based Kalanidhi troupe took the audience by storm. I’ve never seen such a polished, professional display of Kuchipudi before. I was blown away. The attention to detail was impeccable.”

“The polished, ...Kalanidhi ensemble injected kuchipudi into Felicien David’s 1862 opera Lalla Roukh...featuring fanning fingers and angled limbs, and kaleidoscopic circles of young women skimming the floor and springing like gazelles.”