Mangala Anand

Dancer & Choreographer

Her Guru and Mentor

 Guru Smt. Padmini Ramachandran

Smt. Padmini Ramachandran popularly known as Padmini Priyadarshini is the Director of Natyapriya Institute. She is the disciple of the veteran Guru. Padmashri. Vazhuvoor Ramaiah Pillai. She has been bestowed with the prestigious Karnataka kalatilaka award,Bharat Shiromani Award, Karnataka Rathotsava Award, Best Guru – Music Academy, Chennai. A very famous expert choreographer who has put together several dance dramas such as Himaswetha, Vittala Dardhsan, Shree Shakthi and many more.

Guru B. Bhanumati

Bhanumati was born in a musically inclined family: Mother: Isaimani L.R.Lakshmi, noted musician & composer: Father: Dr C.S.Balakrishnan: a zealous promoter of the cause of Indian Classical Music. Bhanumati started learning dance at the age of 10, had the Privilege of the tutelage of greats like Padmashri K.N.Dandayuthapani Pillai at Chennai, Padmabhushan Dr.K.Venkatalakshamma, the doyen of Mysore Palace tradition and Padmabhushan Smt. Kalanidhi Narayanan. She has over 2000 programs to her credit both in India & abroad that include participation in all major dance festivals.

She has been honored with some of these titles for her incredible contribution to Dance:Singarmani at Kal ke Kalaakaar – 1983, Kalaa Shri: Karnataka Sangeeta Nritya Academy- 2000, Rajyotsava Award: Govt of Karnataka – 2001, Chanakya KautilyaAward : Chanakya Foundation – 2006, Aryabhata Award: Aryabhata Cultural Organisation- 2007. She has senior Fellowship on Group Choreography – Ministry of HRD, Govt.of India -1998-2000

Mangala’s Inception as an Artist

She started her training at the age of 14, under the able guidance of the renowned Guru. Bharat Shiromani, Smt. Padmini Ramachandran and accomplished her Rangapravesham with the blessings of the Guru in the year 1995. For the last 15 years she is under the patronage & Guidance of Guru. Singarmani, B. Bhanumati, who is well known for her expertise in Abhinaya.


With a performance career of over 18 years, Mangala has several performances to her credit both at prestigious festivals & Sabhas.

In recognition of her brilliant talent as a young performing artist” she was chosen by the Department of Kannada & Culture – Karnataka to be trained by the Veteran Guru.Padmashree. Dr. Padma Subramanyam.

In true spirit of this rich tradition, Mangala firmly believes in imparting this art form to young aspiring dancers through her dance institute “NRITYA BHARATHI” Carmel, IN. She has a team of young talent and professional artists.

She conducts dance workshops to propagate Indian Classical Dance and Culture.

Some of her Performances:

  • Natyantharanga dance festival ‘94
  • Ramana Maharishi Center for Learning ‘94
  • Mysore Dasara Festival ‘ 05
  • Sri Devi Nritya Kendra Nrityotsava ‘96
  • Suchitra Sankritika Saurabha Dance Festival ‘ 96
  • Nrityakala Parishat Nrityotsava ‘96
  • Tamil Isai Sangam Music and Dance Festival ‘97
  • Every Friday Cultural Evening Programme ‘97
  • “Durga Stuthi” at Bharatiya Vidya Bhavan’ 98
  • Suvarna Sankriti dance festival ’98
  • Telugu Vignana Samhithi Dance Festival ‘ 99
  • Hampi Dance Festival ‘ 97 and ‘99
  • Sangeet Natak Academy all India Dance festival’ 2000
  • Greater Indianapolis Telugu Association 2009
  • Tamil Sangam of Central Indiana 2011
  • Sangam – Lilly India Network 2010
  • Kannada Koota Sangama – Midwest , St.Louis 2011
  • HTCI Temple Fest 2012 – Indiana 2012
  • Taste of India Fundraiser – India Association Terre Haute 2012
  • St.Louis Dance Festival – Soorya, St.Louis 2013

Press Review by Veteran Dance Critics, India:

Mangala was really in her element while executing the Jathi’s in the faster tempo, what followed thereafter was the piece de resistance a varnam in Abhogi “Vanna Mayile”

Mangala made her presence felt very impactful in the portrayal of Viraha. The mobility of her face is remarkable. She never wilted and her drishti was as disciplined as a seasoned performer.


Indian Express – August 5, 1995

Mangala’s histrionic expertise was fully on view in the elaboration of the compositions. It was a pleasant experience to see the dancer in great form during execution of graphical representation. The Nritta marked by the neck movements, rechikas and theermanas with some striking poses embellished the concluding Swati Tirunal’s Tillana.

M.Surya Prasad

The Hindu, July 11, 1997

The erstwhile student of Padmini Ramachandran & B. Bhanumati has shown promise in her Rangapravesham itself. Its consolidation was evident in her dignified stance in the Daru” Mate Malayadhwaja” what enhanced her portrayal was her Sprightly Angikas and Abhinaya.


Phoenix, 1999