International concert stages
Artists in this ensemble have performed across major halls, festivals, and cultural platforms.
Guru / Nattuvangam
Smt. Jaynti Seshan
Founder of Apsaras Dance Company and the artistic guide for this arangetram.
Jaynti Akka shapes the evening from within the tradition: as guru, choreographer, conductor, and the steady rhythmic presence of nattuvangam. Her teaching is the foundation on which Shreya and Shriya step onto the stage.
Vocalist
Shri Nandakumar Unnikrishnan
A sought-after Carnatic vocalist for Bharatanatyam, with extensive arangetram and dance-performance experience worldwide.
In a Bharatanatyam Margam, the vocalist carries the inner voice of the dance: devotion, longing, playfulness, prayer, and dramatic turning points. His singing gives the dancers both musical structure and emotional atmosphere.
Mridangam / Percussion
Shri Karthik Vydhatri
A versatile Carnatic percussionist trained in mridangam and multi-percussion traditions.
For dance, percussion is not background rhythm. It is dialogue. The mridangam listens to the dancers’ feet, answers the nattuvangam, and gives the performance its muscular lift, precision, and drive.
Violin
Smt. Sushmitha Ravikumar
Carnatic vocalist and violinist, featured in IndianRaga productions reaching millions of viewers.
The violin threads melody through the performance, holding continuity between lyric, gesture, and emotion. In expressive passages, it can soften the room; in rhythmic passages, it can sharpen the energy of the ensemble.
Flute
Shri Ravichandra Kulur
Internationally acclaimed flautist with 1,200+ concerts across 34 countries and major global stages.
His flute brings breath, color, and lyricism to the sound world of the evening. It is especially powerful in moments of devotion, nature imagery, and stillness, where a single phrase can open the story outward.
Rhythm Pads / Drums / Percussion
Shri B. S. Arun Kumar
A percussionist whose work spans Carnatic rhythm, jazz drumming, folk percussion, and contemporary ensemble sound.
His rhythmic vocabulary expands the ensemble’s texture while staying rooted in classical timing. For an arangetram shaped by Samanvaya, that range matters: tradition remains the core, but the sound can breathe with modern energy.