Woman of Substance - carried the stamp of a mature artist for whom Bharatanatyam is a personal statement ……….impeccably profiled her dance is both scholarly and assertive….Along with the high conviction in the dance, was an unmistakable sense of sheer joy in the performance…………..evoked one of the best versions of Radha reliving the ecstasy of her first intimate encounter with Krishna in the Ashtapadhi creating quivers of aesthetic enjoyment in the audience ….masterly execution……

Leela Venkataraman, The Hindu, New Delhi

The Romance of Rhythm - It was a technically exhilarating performance by Indira Kadambi……..As far as Nritta is concerned Indira is unmatched . Such perfection one rarely comes across in this field…………..won the hearts of the audience……Indira will be reckoned as one of the foremost dancers of India.

Subbudu, The Statesman, New Delhi

The outstanding performance of the night .. was done by the mature and confident Indira Kadambi. Her ease in communicating  ..left the audience with the appreciation of what encompasses the art of being a great Narthaki. ..  the program gave an opportunity to see the masters at work ....

Kanchana Sastri, Narthaki on line

Commendable choreography, flawless presentation and perfect synchronization

Sunil Kothari, Times of India

Her performance had the individual wholeness and the sublimity tugging at the heart of the rasikas. Her dance provided full aesthetic satisfaction arising from the completeness of form as well as projecting effectively the sublimity of Siva's dance and the unseen spiritual grace behind it all. Revealed her serious commitment to the art

K.S. Mahadevan, Indian Express

There are very few occasions when it is the dance only that remains….It has happened to me many times in performances of Padma Subramaniam. This recurred with the dance of Indira Kadambi much junior to Padma Subramaniam but completely in control of her dance. Precise, fluid and enjoyable, the form and content of Indira's dance was lyrical. Attention of the audience is transfixed on her and her dance beckons them to watch and give it undivided attention superb form…….grand choreography.

V.R.Devika, The Hindu

An unconventional presentation…’Hasya’-a dance theatre production….a successful experiment…. Hilarity was generated through Vachika and Aharya… i was the icing on the cake….…..Kadambi was tongue-in -cheek in her expose ...excellent script …provoked non-stop mirth……

Rupa Srikanth….The Horizons

Review of Philadelphia programme:….. evoked the feeling of seeing a dancer deeply rooted in tradition with no affinity for gimmickry…she was mesmerizing..the result was an audible appreciation by the audience, a sure sign of having evoked the rasas….a classic demonstration of satvika abhinaya-relating to inner psychological states….performed with conviction...there is a sense of confidence and authority…Her technique, done to perfect rhythm gave the impression of the mastery of the art form…such solo dance performances are quite educational while being entertaining.

S.Amalan, New Jersey…Narthaki Online

A performance for the connoisseurs ..Indira proved that the ultimate expression of all great art lies in its utter simplicity.

Dr M Suryaprasad, The Hindu

Her recital was a triumph of patience and effort in the direction of dance propagation.. Abiding commitment, integrity, and passion for the art brought out the best in her.

Chitra Mahesh, The Hindu

Indira Kadambi was definitely the find of this season. In the spotlight for her presentation Purush at Karthik Sabha, she wowed afficionados with her innovative style.

Ashish Khokar, The Pioneer

Provided a true feast to the connoisseurs.

Adhiti newletter, UK

Kept the large gathering enthralled and mesmerized. Her magical performance left the whole audience admiring and applauding.

Deccan Herald

Rewarding experience.

Jyothi Raghuram, The Hindu

Left the audience wishing for more..

V.V.Ramani, Savy

Indira danced with precision, confidence, grace and boundless energy

Sheila Rubin, Synchronicity, Alabama, USA

Stole the hearts of audiences and hypnotized them with her excellent performance

GT Narayana Rao,Star of Mysore

One presentation in which the dancer attempted a balanced utilization of multiple tools of communication was Purusha Parinaam by Indira Kadambi. The theme was conveyed not only through Nritta and Abhinaya, but also through carefully composed music and costume variations.

Nirmala Seshadri, The Economic Times

Has mastered the intricacies of Nritta, Abhinaya... gave a dignified presentation... revealed her serious commitment to the art.

Nandini Ramani, The Hindu




  Bundle of energy.
  Bright and accurate.
  Precise, fluid and enjoyable.
  Finesse and chiselled movements.
  Awe inspiring energy, enchanting dance.
  Flawless hand movements and nimble footwork gives sheen to her recitals.
  Bristling rhythmic patterns rose to great heights with aesthetics always intact. The dignity and geometry glowed naturally with her artistry and her movements vouched for her good hold over the medium.



  Registers the expressions in quick silver manner.
  Controlled and judicious.
  Stirring abhinaya... has the stamp of her Guru Smt Kalanidhi Naryanan.
  Discreet manodharma made her dance more spontaneous and added a touch class.
  Deeply felt Abhinaya..proof of the unstinted effort and dedication of the dancer.
  Her interpretations were so full of devotion and inspiration.
  The Sancharis in the varnams took us to the realm of heroine pining... was done with vividness and intensity.
  Her abhinaya was meditative and sensitive in its depth and involvement.
  Evocative abhinaya... emotions fleet across her face with ease... the moods were expressed and etched with great clarity.
  Her expressions were Drishya Kavyam (visual poetry)- subtle and charming.



  Music blended in at every turn , whether in mood or in creating the right atmosphere... the co-ordination between the singer and the dancer, was at a much more evolved level.
  Perfect synchronization with the Carnatic Classical music of a very high order.
  Soulfully sang with an understanding of the dance.
  The highlight of the recital was the vocal support rendered by the artist's singer husband T.V.Ramprasadh... it enhanced the mood of the performance.
  Performance with synchronization of dance and music of high merit.
  Synergy of the duo was palpable right through the performance.



Concept and choreography - Smt. Indira Kadambi
Music -T.V.Ramprasadh

A grand choreography. Superb coordination between the dancer and the vocalist husband T.V.Ramprasadh.

V.R.Devika, The Hindu –Chennai

".Spirited performance"--Not a single flaw..executed the performance with consummate artistry..sent the audience into raptures..held the audience spellbound with her soulful abhinaya..her flexibility and exuberance filled the stage...

Sunday Times—Bangalore

Marked by admirable confidence…The nritta,nrithya and abhinaya spoke of dancer’s hard work and mastery over the medium..her imaginative inputs made for the wholesomeness of the presentation.

Dr.M.Suryaprasad-The Hindu

Purusha parinaam(2000)

Man-Past, Present, Future
Concept and Choreography - Indira Kadambi
Lyrics - Shatavadhani.R.Ganesh
Music - T.V.Ramprasadh

Relations have always been the basis of life and its complexities. For a long time, there has been an unresolved conflict between men and women. In order for us to move towards resolving this, it is necessary to view the situation from both angles so as to arrive at an equal partnership.

Indira extends herself as a dancer and more importantly as a woman to look from the man’s point of view. She looks at his dominance in the past, his conflict in the present and possibility of relative balance and equality in the future.Through the production MAN, various aspects of our lives, the historical links and their relational understanding are explored through a traditional dance form-Bharatanatyam.


A journey through times- It was indeed a festival with difference and a significant moment in time.-Bharatam Trikalam-the theme which witnessed the coming together of contemporary poets, dancers and composers. If introspection and probing into life requires courage, then sharing this on an artistic platform is indeed an achievement. For audience, it was a thrust into the unknown; each moment was an unfolding of something new…….

……..One presentation in which the dancer attempted a balanced utilization of multiple tools of communication was Purusha Parinaam (Man) by Indira Kadambi. The theme was conveyed not only through Nritta and Abhinaya, but also through carefully composed music and costume variation ….the synergy of the duo was palpable right through the performance-

Nirmala Seshadri, The Economic Times

Sadashiva Darishanam (2001)

Concept and Choreography - Indira Kadambi
Music - T.V.Ramprasadh

Sadasiva Darsanam’ is a solo thematic Bharatanatyam presentation in which the dancer, through the traditional repertoire, provides a glorious vision of the all encompassing and all-powerful Destroyer and Sustainer of the Universe, Lord Shiva. .The dancer depicts the Supreme Being through the eyes of various souls who have been touched by the form and concept of Shiva- there is the nayika or lover as well as the non-believer.

There is also the devotee for whom surrender to the feet of Shiva is believed to annihilate the three-fold impurities of anavam, maya and karma (ego, delusion and deeds).

For the dancer, He is none other than Nataraja, the Lord of Dance.

In ‘Sadasiva Darsanam’ the bliss and power of the Cosmic Dance is conveyed, representing a moment in time when the dancer and the rasika are presented with the opportunity for a powerful aesthetic experience or samvega which is believed to give everlasting joy and healing. There cannot be a more apt moment in time.

Review (2001)

----Her performance had the individual wholeness and the sublimity tugging at the heart of the rasikas. Her dance provided full aesthetic satisfaction arising from the completeness of form as well as projecting effectively the sublimity of Siva's dance and the unseen spiritual grace behind it all. Revealed her serious commitment to the art---- Her expressions were Drishya Kavyam (visual poetry)- subtle and charming

K.S. Mahadevan, Indian Express

The Divine Flute – Vamshi (2003)

The magical interlude of the Bamboo Flute, Bharatanatyam and English Poetry
Concept and choreography - Indira Kadambi
Music - T.V.Ramprasadh
Poetry - Shreekumar Varma, Prof.Raghuraman

The program is a unique and beautiful fusion of English Poetry and Bharatanatyam (South Indian Classical Dance). The traditional aspect of the dance form not being sacrificed, the poetry originally written for this production, is well interspersed, giving a beautiful flow to the narration

Review (2001)

Indira kadambi’s vamshi which premiered in the city was noteworthy ..because of different focus..the sancharis were bright,lucid,the tirmanams arrested audio-visual attention without flashiness.. had freshness and good taste.

Gowri Ramnarayan - The Hindu

Traditional yet contemporary, …blending the form and content in an aesthetic manner. ..was unique, …took up a very innovative theme,... . 

The song renditions by Ramprasad was a feast to the ears and the feel he was able to impart to each composition was indeed splendid.. Indira brought in so much life to every piece that at several points, the singer, dancer and audience - all became one and got elevated to a state of ecstatic and aesthetic bless.

One final point which must be mentioned is the fine make up and costume of Indira Altogether, a remarkable show worth cherishing

Samudra music and dance magazine

HASYA (2002)

Concept, Choreography, Dialogue : Indira Kadambi
Music: T.V.Ramprasadh

Hasya is perhaps the ability to laugh and much more. It is the process of looking at the world from a different perspective, one that involves going around the seriousness of life by viewing it in a humorous way. To possess a sense of humour, to be able to laugh at life and at oneself, is in itself a great qualification. Many Indian art forms have had segments devoted to satire. The Chakiyar Koothu is an example and so too the role of the Vidhushaka of Kudiyattam. Hasya has and will always exist as an antidote to lift humanity above the pathos. The Natya Sastra, too, has a segment that explores the idea of hasya- its definition and classifications. Indira presents an introduction to the concept of hasya as encapsulated in the Natya Sastra and Abhinava Bharati.

Why Shiva drank poison, Krishna’s twist, Narada in chennai are the few episodes that Indira highlights in this unique production

Review (2001)

An unconventional presentation…’Hasya’-a dance theatre production….a successful experiment…. Hilarity was generated through Vachika and Aharya… ”Come o bulky stomach”…sung with a heavy classical intonation in Hamsadwani was the icing on the cake….A fresh look at Shiva’s Neelakanta’s episode was entertaining...resembled the fast forwarding of a cartoon…..Kadambi was tongue-in –cheek in her expose ...excellent script …provoked non-stop mirth……

By Rupa Srikanth….The Horizons

Hasyam’  lightens and enlightens

Indira Kadambi’s creative approach to dance has made her explore several new avenues.

She sticks to traditional idioms in Bharathnatyam, and at the same time tries to discover methods to keep the art alive and reach it to the younger generation in the right perspective. Her latest production ‘Hasyam’ for Bharat Kalachar’s Margazhi Mahotsav was yet another feather in her cap. In Indira’s own words, “Laughter is your greatest qualification to face life. Laughter lightens, enlightens and blesses. Look around you and there are so many things worthy of laughter -language, culture, environment, society, politics, people - even the Gods.”Every move in this piece was so humorously conceived and executed that the audience went into peals of laughter.

Indira’s observation of many minute details was really striking. The side effects by the koothupatrai troupe helped one to link all the episodes with ease.All was depicted with such humour. In the whole show, what was noteworthy was that ‘Haasyam’ was conveyed effectively without making a mockery of the art form. We have often witnessed in the media the projection of classical art forms in bad taste just to make it appear ‘funny’ before the viewer. Indira needs to be applaunded for evoking  Hasyam within the parameters of Bharathnatyam, without compromising on the dignity of the art.. As Dr.(Mrs.)Y.G.P put it, ‘the dance was a fun filled evening, a nice beginning to the new year.’ Mrs. YGP also asked Indira to stage this show for her school children later. Perhaps, many more schools could take the cue.

Because the younger generation are not able to really relate to our art forms, they shun from it. If the same is done with some thought and enterprise and packaged with the receiver’s taste in mind, our art forms will definitely have a wider reach without compromise on quality. Surely, laughter lifts people above themselves and the pathos that fills them in this stress and tension filled world and what better way can it be communicated than through our own traditional art forms.

Samudhra….Music and Dance Magazine


Resource person - Sharada Nambi Arooran
Music - T.V.Ramprasadh
Choreography - Indira Kadambi and Praveen Kumar

Manonmaneeyam is a Tamil epic written by the poet Sundaram Pillai in 1892.This work is based on the legend-The Secret Way, written by The Rt.Hon.Lord Lytton. This unique production choreographed for the first time ever in the dance drama format will be premiered at the thematic festival “Kavya Bharatam” 

Love energy can be telepathic and very interestingly souls can connect with each other without physical proximity. This is proved in the case of Manonmani and Purushothaman, both total strangers, who dream about each other and are instantly and madly in love. This epic brings out interesting interpretations of Love, Penance, Sacrifice and Ethics.


the presentation was of a high standard in terms of music composition, space visualization and high energy from both the dancers.

Indira Kadambi is a senior Bharatanatyam artist, expressive and full of spirit. Her versatility as a performer saw her at home in a wide variety of roles, as a conniving politician, as a lovelorn young woman, and as an opportunistic young man…. Manonmani despairs when her wedding is fixed with the evil Baladevan, and agonizing over her situation she appeals to God; her misery was so palpable and so real.   

The Horizons

Jugalbandi by Smitha Rajan and Indira Kadambi-2003

Dancers made a beautiful entry to the stage - Indira Kadambi with sprightly, energetic adavus so typical of Bharatanatyam, and Smitha Rajan, with flowing, graceful steps so characteristic of Mohiniyattam. . had choreographed this very well, so that although there were two dancers dancing in two different styles on the stage, the piece as a whole was cohesive and woven beautifully…. Smitha and Indira alternated, each with a set of adavus, each dancer doing full justice to her style, not for a moment going out of her own style, and yet, blending in and dancing to the same song! There were some steps, which were similar, chosen and performed well, so that they seemed to be in synchronization, and yet, on a closer look, what Indira was doing was distinctive Bharatanatyam adavus, with intricate jathis, while what Smitha was doing was classic Mohiniyattam, with its absolute grace in each and every step or minute movement. T V Ramprasadh sang soulfully, and he was very sensitive to the dancer’s feelings and movements – his voice being soft and gentle for Mohiniyattam, whenever necessary, and sharp and quick for the Bharatanatyam adavus…all the five artistes received a standing ovation for a well-presented, lovely, memorable program.

Narthaki Online