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Bridging the gap between the classical arts and academia, Radha Varadan is an emerging creative artist deeply dedicated to the evolution of the traditional dance form of Kathak. A graduate of George Washington University where she held the presidential merit scholarship for excellence in dance, Radha’s academic and artistic background spans a comprehensive range. Trained from a young age in classical ballet, Kathak, and later pursuing her degree in postmodern dance, Radha is a professional Kathak artist under the tutelage of Smt. Nirupama Rajendra and Sri. T.D. Rajendra. Simultaneously, she holds a degree in the biological sciences, and has conducted and published extensive research in molecular biology and immunology.

Much like her background, Radha’s professional and creative works span countries and cultures. She has been recognized internationally for her innovative work in translating classical ballet variations into the traditional Kathak vocabulary, and for her research on the mechanisms of the injuries most commonly experienced by practitioners of Indian classical dance. In 2024, Radha received the Maida Withers Award for Originality and Risk in Performance Art. She is also the recipient of several grants supporting her research in the molecular biological sciences.

Aside from her academic and creative endeavors, Radha is an accomplished performing artist. She has performed solo worldwide at prestigious dance festivals, including the New York Kathak Festival, the North Carolina Kathak Festival, the Youth Festival organized by IFAA San Diego, and the Au-Delà des Préjugés Festival in Switzerland. Radha also performs for the renowned Abhinava Dance Company, where she continues to deepen her study of traditional Indian arts.

While scholarship in the field of dance injuries is rapidly growing, the information that is available is almost entirely geared toward Western ballet and modern dance forms. Radha’s Fulbright-Nehru research project is addressing this disparity by integrating ancient anatomical knowledge documented in the Natya Shastra with existing Western-centric research. In doing so, the academic fields of injury prevention and kinesiology broaden in the pursuit of cultural equity and access to health information.

Miriam Anderson is a multimedia artist and graduate of The University of Alabama, where she majored in creative media with a minor in The Blount Scholars Program. Her work bridges the worlds of Bharatanatyam dance and film, reflecting her commitment to both performance and storytelling across disciplines.

After training for five years under Sheila Rubin at Natyananda Dance Company in Birmingham, Alabama, Miriam made her Bharatanatyam arangetram (debut) in June 2024. She has performed in diverse settings, including opening for spiritual leader Sri Sri Ravi Shankar at the BJCC and participating in the Federal Bureau of Investigation’s cultural program. She has also represented Natyananda at the Freeform program with The Dance Foundation. Miriam completed the Warrier Foundation Residency from Coimbatore, India, where she immersed herself in the practice and philosophy of Bharatanatyam. In the spring of 2024, she served as lighting designer and stage manager for the U.S. tour of the renowned Bharatanatyam artist Rama Vaidyanathan, where she was part of productions such as New Dimensions and Ratna Garbha.

Miriam’s interdisciplinary practice allows her to merge cultural research, choreographic exploration, and visual media. Whether behind the camera or on stage, she is drawn to projects that invite reflection, preserve tradition, and build new paths for creative engagement. Her work exemplifies a commitment to honoring classical forms while reimagining how they can speak to contemporary audiences.

For her Fulbright-Nehru project, Miriam is studying Bharatanatyam in Delhi. Her project is exploring the expressive and technical depth of Bharatanatyam, with a focus on breath, alignment, and the creation of original choreography. Drawing from her training and experiences as a non-Indian dancer, she is also involved in producing a series of video essays documenting her artistic process and transformation. These essays attempt to offer a behind-the-scenes look at artistic development, cultural immersion, and the disciplined practice of Bharatanatyam as a living, evolving art form rooted in tradition and personal devotion.