A lively summer day on the east side of Los Angeles became even more vibrant as I ascended the steps to the Barnsdall Gallery Theatre to watch “Shri, the Goddess of Grace & Beauty,” a Bharatanatyam performance by Shriya Kashyap, presented by Rangoli Foundation for Art & Culture, featuring choreography by renowned Bharatanatyam choreographer, educator, and visual artist Malathi Iyengar.
Shriya Kashyap in “Shri, the Goddess of Grace & Beauty” – Photo by Gene Lewis.
Outside the theater, excited audience members greeted one another and snapped pictures, outfitted in richly colored saris and kurtas, holding flower bouquets for the young performer. 14-year-old Shriya Kashyap has been studying Bharatanatyam, an Indian classical dance form originating from Tamil Nadu, India, with Malathi Iyengar for the past five years. In 2024, Kashyap presented her solo dance debut in India, signaling the completion of her initial Bharatanatyam training, as well as a pivotal coming-of-age milestone. And on June 27, 2026, she delivered a captivating performance, showcasing technical precision, spirited musicality, and deep artistry through storytelling.
The art form Bharatanatyam is thought to be over 2,000 years old, with foundational roots in South India. While the technique and dance style have shifted over centuries, Bharatanatyam is composed of Nritta, or pure dance movement, Nritya, or rhythmic sequences involving narrative and emotional expression, and Natya, a storytelling section. The storytelling portions of the performance often involve the articulation of a Hindu story or message.
Shriya Kashyap in “Shri, the Goddess of Grace & Beauty” – Photo by Gene Lewis.
Kashyap’s performance was accompanied by stunning live music, including a flute played by Nithish Ammannaya, a morsing and kanjira played by Bhargava Halambi, and a mridangam played by Gurumurthy Garmpalahally. Malathi Iyengar served as the nattuvanar, keeping time with talam, or hand symbols, which synced with Kashyap’s steps on stage.
Lakshmi Iyengar designed the show’s lighting, which served to softly highlight Kashyap on stage, subtly changing color at times with the tone of the music. The sculpture and set design, arranged by Suresh Iyengar, were simple but beautiful, featuring a dusting of magenta flower petals and a large Ganesh statue downstage left. Credit is also due to Lakshmi Iyengar, Sheila Aula, Vyshnavi Aysola, and Anjali Sheth, who handled makeup and hair, which served to accentuate Kashyap’s evocative facial expressions, particularly her rapidly moving eyes and eyebrows.
Shriya Kashyap in “Shri, the Goddess of Grace & Beauty” – Photo by Gene Lewis.
Kashyap’s movements were highly precise and musical, always dancing in time with the music’s rhythmic beats. As is traditional, Kashyap wore salangai, leather anklets featuring small bells, and alta, or red kumkum powder, which drew attention to her rigorous, articulated foot movements and hand gestures, all performed with the precision of a dancer who clearly takes pride in nailing the details.
The Varnam, or centerpiece and emotional climax of the performance, was especially impressive, in which Kashyap danced for thirty minutes straight. Being able to command stage presence as a solo performer for that long is no small feat, but Kashyap accomplished it with grace and confidence, earning bouts of applause from the audience after especially intricate dance sections.
Shriya Kashyap in “Shri, the Goddess of Grace & Beauty” – Photo by Gene Lewis.
The performance was a triumph for young Shriya Kashyap, as well as Malathi Iyengar, who has made a name for herself in Bharatanatyam in Southern California and beyond, having won the COLA Choreography Fellowship from the City of Los Angeles in 2013 and the Lester Horton Award for Outstanding Achievement in World Dance in 2010, and being recognized as a Master Artist of Bharatanatyam by the Alliance for California Traditional Artists.
Having grown up in a family of artists and musicians herself, Malathi Iyengar established Rangoli Dance Company and Rangoli Foundation for Art & Culture in 1985 to share and promote the performing and visual arts of India. The program reads that Rangoli’s dances “convey a sense of reverence and mystery and are offered in the spirit of universal celebration.” This sense of celebration was palpable at Shriya Kashyap’s solo performance; Iyengar looked on with a clear sense of celebration herself. The young dancer showcased what she’s learned from years of hard work and practice, as well as what Iyengar has learned and imparted herself over the course of her distinguished career.
For more information on Malathi Iyengar and Rangoli Dance Company, please visit the company website.
To learn more about the Barnsdall Gallery Theatre, please visit their website.
Written by Madison Huizinga for LA Dance Chronicle.
Featured image: Shriya Kashyap – Photo by Gene Lewis.
