Kassiyet Adilkhankyzy's passion for Bharatnatyam began early, as a child in Kazakhstan where she trained from the age of 6 at the Indian Embassy in Almaty for 11 years. She then moved to India to further her training, blossoming in the new environment and performing professionally on the global stage, from the Commonwealth Games to the Indian Music Academy in Chennai. Having moved to the United States in 2020, she embraces her multicultural identity, drawing from various inspirations to grow her style and perspective. Snippets of her daily life as a dancer in New York, from her stretching routines to her practice saris, showcase her bright personality and deep love for her art.
Are there many opportunities to learn Bharatanatyam in your country. Are there more teachers now compared to when you started learning?
I started learning Bharatanatyam in Almaty, Kazakhstan, at the age of six in 1999. At the time, the classes were held at the Indian Embassy. When the embassy relocated to the newly formed capital, Astana, my then teacher, Akmaral Kainazarova, who had been teaching at the Indian Embassy, opened her own center for Indian Classical Dance in Almaty. In the early 2000s, it was the first and only Indian dance school in the country and perhaps in Central Asia.
Over the last decade or two, many Kazakh dancers have trained in various Indian classical dance forms in India and opened their own dance centers/schools across the country. The Indian Embassy in Astana now also appoints teachers through the ICCR (Indian Council for Cultural Relations), who serve for a certain number of years. There is undoubtedly more exposure to Indian culture now than when I first began learning.
What are the things that attract you most to Indian classical dance. Do you think the form has the potential to transcend cultures offering something meaningful for even untutored rasikas
My love and fascination for Bharatanatyam has evolved and deepened over the past two decades, taking on new dimensions with each passing year. As a child, I was initially drawn to the vibrant costumes, intricate jewelry, and the sense of uniqueness it gave me—I was the only child in my school and social circle learning Bharatanatyam, which made me feel incredibly special. However, as I grew older, my connection to the dance form expanded in more profound ways.
When I first traveled to India in 2007, it was not just the dance that captured my heart, but the entire essence of India itself. The country's rich culture and spiritual energy deepened my passion for Bharatanatyam, and I must also credit my first teacher, Akmaral Kainazarova, for nurturing my love and dedication to the art form. Today, my attraction to Bharatanatyam goes far beyond the external allure of costumes and performance. It is now something that nourishes my soul and gives me a deep sense of purpose in life. When I dance, I feel that I am the best version of myself—a feeling of profound connection that transcends words.
As for the potential of Indian classical dance to transcend cultures, I can speak from personal experience. I have had the privilege of performing in over 30 countries, and while most of the audiences I perform for are Indian, one particular performance stands out. I had the opportunity to perform in front of a primarily white British audience on the Isle of Wight, UK many of whom had never seen Bharatanatyam before. To my surprise, nearly every member of the audience was deeply moved—some even crying after the performance. This experience confirmed for me that Indian classical dance has a universal language that can touch and resonate with people from all walks of life, even those who have never been exposed to it before.
I firmly believe that Indian classical dance, with its rich emotional depth and timeless expressions, has the potential to move and inspire even the most untutored rasikas. Its power lies not only in its technical beauty but also in the raw, universal emotions it conveys—emotions that speak to the heart, irrespective of cultural background.
What are some of the changes faced by artists in the United States to present their dance. You mention solo performances versus group ensembles. Why is there a difference?
Indian classical dance in the United States is primarily centered within the Indian community, with most performances organized by dance schools or nonprofit organizations that support certain artists. As a result, the opportunities for performance tend to be either solo or group presentations within these community-based events. However, there are limited festivals and platforms specifically designed for full-time professional dancers in the Indian classical dance community.
For forms like Bharatanatyam, which have traditionally been performed solo, there is naturally more scope for solo performances within the Indian community. Bharatanatyam, in particular, has a deep-rooted history as a solo dance form, with a focus on personal expression, storytelling, and devotion. As a result, solo performances continue to be a central feature of its presentation in the U.S. within these Indian community-driven events.
In contrast, the American mainstream dance world tends to focus on ensemble works. Professional dance companies in the U.S. often require dancers to perform in groups, and many of the major venues and festivals typically expect performances from companies that have multiple members. This presents a challenge for solo artists, as the mainstream dance scene is structured around the idea of collective performance and group dynamics. For artists trained in solo Indian classical dance, it becomes difficult to find the same recognition and opportunities in the American mainstream without adapting to group-based choreography.
This distinction between solo and ensemble work reflects a broader cultural and institutional difference. While Indian classical dance thrives in solo presentations within the Indian community, success in the broader American dance world often requires building a professional dance company. However, doing so comes with its own set of challenges—such as financial support, administrative organization, and the balancing act of adapting traditional forms to meet mainstream expectations.
How does the Bhakti bhava in the krithis resonate with you?
I am quite comfortable expressing Shringara and Bhakti in any dance piece, as both emotions resonate deeply with me. Having learned Bharatanatyam since childhood, I have developed a strong connection to Indian mythology, poetry, and literature. These elements are integral to the dance form and are central to how I express emotions through my movements and expressions.
Your vibrant sarees are so representative of the beauty of the art. How does concrots of shringara vary across time and cultures.
Thank you. Shringara is a universal expression of love, a language that transcends time and culture, one that every human understands from the moment they are born. The way Shringara is expressed may change across different stages of life, but its essence remains the same. As we grow, our experiences of love and attraction evolve, from innocent affection to deeper, more complex emotions. This fluidity in its expression makes Shringara one of the most organic and beloved emotions that I express in my dance. Whether it's the playful flirtation of youth, the passionate longing of a lover, or the serene devotion of an older age, Shringara captures the full spectrum of human emotion and continues to inspire me as an artist. It’s a theme that is both timeless and ever evolving, allowing me to explore its many facets through movement and abhinaya in Bharatanatyam.
What do you like most about the dance form and how has it changed your life?
Bharatanatyam has brought a unique identity to my layered personality, and I take great pride in being a Kazakh Bharatanatyam dancer based in New York. What I love most about this dance form is the way it allows me to express myself on such a deep, personal level while connecting to a rich cultural heritage.
However, Bharatanatyam has also changed my life in ways I never imagined. If it weren’t for dance, I don’t think I would be where I am today. It has given me the courage to dream big and set ambitious goals. When I first traveled to India to study dance, it was a transformative experience. I realized that with dedication and hard work, I could accomplish anything. That realization expanded my horizons, and my goals became much bigger. It gave me the confidence to win a scholarship to study in Europe on a full grant, to travel and perform across 30 countries, to immigrate to the U.S., and so much more.
Beyond all the achievements, dance has been with me through the ups and downs of life. During times of joy, it has allowed me to celebrate and express my gratitude. In moments of struggle or uncertainty, it has been a constant source of strength, helping me to find balance, clarity, and resilience. Dance has become a powerful force in my life, pushing me to constantly explore my limits and grow both as an artist and as a person. Through Bharatanatyam, I’ve learned that the possibilities are endless when you have passion, determination, and the courage to take risks.
Have you had a chance to visit India yet? How do you connect with the themes in the dances. How do you research the context of the various themes?
I had the incredible opportunity to undergo intensive training in Bharatanatyam in New Delhi at Ganesa Natyalaya, under the guidance of the late Guru Saroja Vaidyanathan, from 2010 to 2017. During that time, I trained full-time in India and gave about 200+ performances across the country. I also had the privilege of dancing at the Margazhi Season in Chennai from 2011 to 2016 and the Music Academy’s Spirit of Youth festival in 2015. My time in India was a deeply formative period in my artistic journey.
After leaving India in 2017, I returned for short periods solely to continue my training with my then Gurus Saroja Vaidyanathan and Rama Vaidyanathan until 2019. Since then, I haven't had the chance to go back, but I plan to return soon, as I deeply miss the connection to the cultural and artistic pulse of the country.
When I work on new pieces or choreography, my process always begins with a deep, personal reflection—asking myself, "What do I feel like expressing?" From there, I dive into researching the context and themes that I want to explore. This often involves a thorough study of the text, whether it's a poem, story, or mythological theme, followed by creating the music and choreography. It’s a long and immersive process where each layer builds upon the next, allowing me to connect with the theme on both an intellectual and emotional level.
In terms of connecting with the themes in the dances, I draw on my own understanding, expereinces and interpretation of the emotions, stories, and symbolism they represent. I aim to bring a personal touch to each piece, while staying true to the traditions and teachings I have received. It's a balance of research, introspection, and creativity that makes each piece of choreography unique and meaningful.
Where would you like to see yourself in the future?
I have dreams and goals that I aspire to achieve, and I'm excited to see how they unfold in time :D
