Samridhi Dance Foundation

Samridhi Dance Foundation Samridhi Dance Foundation,Bangalore led by Smt. Raksh*ta Raghunathan.Bharatanatyam Classes-Onl&Offfl

27/09/2026

Margadarshana | SDF Repertory
A focused space for dancers ready to commit, perform, build repertoire and take their practice forward.

Auditions open. Bengaluru based dancers only.
Write to me at [email protected]. DM for any questions

26/09/2026

1. PROTECT THE PSYCHOLOGY OF PERFORMANCE.

Backstage is not an extension of the social space. Loud conversations, constant photography and unnecessary movement can dissipate the concentration required for performance. Allow yourself to transition from the everyday self into the performing self.

2. PREPARE THE BODY. THEN FUEL IT.

Warm up according to what your body actually requires that day: mobility, activation, joint preparation, muscular engagement and breath. Hydrate well and eat adequately. You are asking your body to sustain physical effort, cognitive attention and expressive precision. Energy is part of preparation.

3. YOUR COSTUME SHOULD ENABLE MOVEMENT, NOT NEGOTIATE WITH IT.

Check every pleat, fastening, ornament and accessory before you perform. You should be able to access your full movement vocabulary without consciously managing your costume. If the costume restricts the body, the performer inevitably compensates.

4. TECHNICAL CONTINGENCY IS PART OF PROFESSIONALISM.

Carry your music in multiple formats and, where possible, on multiple devices(laptop and phone). Know your cues, microphone requirements and basic technical dependencies. You cannot control every technical variable, but you can be prepared for them.

5. KNOW THE SPACE BEFORE YOU PERFORM IN IT.

Understand your stage marks, lighting positions, entrances, exits and sightlines. Speak to the lighting, sound and stage teams before the programme and communicate your requirements clearly. Technical clarity prevents expectation mismatch.

The performance begins long before the first cue.
It begins with how seriously you prepare to receive it.

24/09/2026

A complete blessing to have rendered Nritya Seva at the Melukote Cheluvanarayanaswamy Devasthana with my dearest Ragini Iyer akka. Eternal gratitude to my guru and guide Ramya Ramnarayan akka for inspiring devotion in dance. Praying and wishing to have more such divine experiences šŸ™šŸ»

21/09/2026

A NEW CHAPTER FOR THIS SPACE !!!!

As a performing arts educator and an independent arts practitioner, I often find that the questions emerging from my work in Bharatanatyam extend far beyond dance.

They touch upon art, culture, education, movement, research, creativity, technology, the body and the evolving landscape of independent artistic practice.

Many of these questions are relevant not only to artists, but to the many independent practitioners, educators, creative ventures and cultural initiatives building meaningful work in India today.

I believe a thought becomes more valuable when it creates a conversation, and a conversation can grow into a community of people who question, share, reflect and learn from one another.

With a growing community of 8,800+, I want to use this space more intentionally, to share what I am learning, but also to listen to what others are thinking.

This is my invitation to build a space where artists feel seen, art can be discovered, discussed and dissected.

Please leave your comments below on what you would like to see more in this pagešŸ˜ŠšŸ•‰ļøšŸ™šŸ»

20/09/2026

A studentā€™s creative world is often shaped by the space a teacher creates for them to explore.

The confidence to move.
The freedom to interpret.
The courage to ask questions.
The willingness to experiment without fear of being wrong.

These are not separate from tradition. They are often nurtured within it.

A teacherā€™s influence extends far beyond the choreography they impart. They shape the studentā€™s movement vocabulary, their ways of observing, their sources of inspiration, and ultimately, their confidence to find something of their own within a deeply inherited form.

Reverence, then, need not mean imitation.

Perhaps the most meaningful expression of a studentā€™s respect for a teacher is to take what has been given, with discipline and gratitude, and allow it to become something alive, personal and continually evolving.

Because sometimes, the greatest creative source a teacher gives a student is not an answer, but the freedom to discover.

Gratitude to my Guru Ramya Ramnarayan akka šŸ™šŸ»thank you for generously sharing your artistry with the honesty and openness, very blessed to be your student.

20/09/2026

A studentā€™s creative world is often shaped by the space a teacher creates for them to explore.

The confidence to move.
The freedom to interpret.
The courage to ask questions.
The willingness to experiment without fear of being wrong.

These are not separate from tradition. They are often nurtured within it.

A teacherā€™s influence extends far beyond the choreography they impart. They shape the studentā€™s movement vocabulary, their ways of observing, their sources of inspiration, and ultimately, their confidence to find something of their own within a deeply inherited form.

Reverence, then, need not mean imitation.

Perhaps the most meaningful expression of a studentā€™s respect for a teacher is to take what has been given with discipline and gratitude and allow it to become something alive, personal and continually evolving.

Because sometimes, the greatest creative source a teacher gives a student is not an answer, but the freedom to discover.

Truly grateful to my guru Ramya Ramnarayan akka for the encouragement I have been fortunate to receive. Thank you akka for everything ā¤ļø

14/09/2026

How many things is the body actually doing when a Bharatanatyam movement appears effortless?

A single sequence can involve the feet, ankles, knees, hips, pelvis, spine, shoulders, elbows, wrists, head and gaze, often moving in different directions, at different speeds, yet arriving as one coherent form.

This is the neuromuscular architecture of dance, the continuous coordination between the nervous system and the musculoskeletal body that allows these many moving parts to work together with precision, balance and symmetry.

I experimented with motion tracking to make some of these relationships visible, the angles, axes, trajectories and bilateral coordination that the trained dancer is constantly negotiating. The value of looking at movement this way is not to make Bharatanatyam more complicated. It is to help us see the complexity that is already there, and perhaps give dancers another way to observe, understand and refine the finer details of their physical practice.

Dance is shaped by the attention given to finer details, that lets the viewer know and feel the rhythm and the relationship the dancing body has with the same.
The movement may look like one action. The body knows it is many.

More on this soonā€¦

08/09/2026

Teaching technique doesnā€™t require fancy vocabulary.

It doesnā€™t need complicated explanations, obscure terminology, or words that sound impressive but leave the student more confused than before.

Sometimes, all it takes is the intention to make the student understand.

To break down a movement. To find a familiar analogy.
To say, ā€œThink of it this way.ā€ To watch again. To explain again. To meet the student where they are.

Because knowledge is not demonstrated by how complicated we make something sound. It is demonstrated by how clearly we can make someone else see it.

In a dance classroom, simplicity is not a dilution of technique. It is often the highest form of teaching.

02/09/2026

Dance demands you to know history, literature, music , anatomy and especially directing students to achieve movement confidence on a constant level. I have often been told by many of my learners that they developed a deeper appreciation for the art by knowing more. Anyone can teach, but teaching with authenticity requires that you fundamentally be an artist of understanding yourself before you rush to pass it on to others. Grateful for all my learnings from my Gurus which enables me to continue to do some work todayšŸ™šŸ»

22/08/2026

Admissions for September 2026 are now open.

At Samridhi Dance Foundation, Bharatanatyam is taught through a structured and holistic approach that nurtures strong technique, rhythmic understanding, artistic expression, and a deep appreciation for the tradition.

Whether you are beginning your journey, looking to refine your existing training, or fulfilling a lifelong aspiration to learn Bharatanatyam as an adult, we offer a program tailored to your stage of learning.

āœØ Live online classes
āœØ Class recordings and learning resources
āœØ Structured curriculum with assessments and certification
āœØ Performance opportunities for progressing students

To view further information, send us a DM or visit the link in bio - https://samridhidance.com/training to view information about batches.

Address

No 585, 2nd Main RHCS Layout
Bangalore
560091

Opening Hours

Monday 9am - 5pm
Tuesday 9am - 5pm
Wednesday 9am - 5pm
Thursday 9am - 5pm
Friday 9am - 5pm
Sunday 9am - 9pm

Telephone

+918248128272

Website

Alerts

Be the first to know and let us send you an email when Samridhi Dance Foundation posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The School

Send a message to Samridhi Dance Foundation:

Shortcuts

Share

Category