Art in Motion: Seattle International Dance Festival 2025 Review

Khambatta Dance Company has organized the Seattle International Dance Festival (SIDF) since 2006. The program focuses on uniting communities and celebrating Seattle’s neighborhoods by showcasing the work of local, regional, national, and international dance artists who exemplify the diversity of contemporary dance. SIDF’s Winter Fest started on Feb. 28 and runs through March 8 at Broadway Performance Hall. While regular tickets start at $45, students of Seattle Central College can attend for just $5. 

At SIDF’s Winter Fest, each company presents its works during the first weekend, then collaborates for five days to premiere entirely new pieces on the second weekend. This year, artists fused urban, ballet, modern, Bharatnatyam, and Chhau–traditional Indian forms–into a truly breathtaking manner.

From the moment I entered, I was immersed in art. Even in the lobby, there were beautiful art pieces by Gallery B612. The gallery curator and co-founder, MiYoung Margolis, was present at the event, both showcasing her gallery’s art and witnessing the art done at SIDF.

The first half of SIDF was simply breathtaking. It felt like a series of short stories within a larger story. The beauty lay in how each piece was similar and different at the same time. The emotion and depth in each individual piece were truly amazing.

The first dance of the piece set such a high bar, making it feel like it was their best dance–yet every single choreography afterward kept pushing that bar higher and higher. Whether in solo, duos, or the group performances, the dancers commanded the stage. The audience’s anticipation, expectation, and hunger grew, and SIDF catered to them all.

Dancers Rodrick Barnes, Nathan Cook, Olivia Link, Kaitlyn Nguyen, Leah Russell, Mary Sigward, and Emily Walter were impeccable, well-trained, and the definition of perfection. Their coordination and timing were unparalleled- a testament to choreographer Cyrus Khambatta’s vision. The dancers were completely in sync, with every minute detail carefully considered—from the positioning of their fingers to when to point and when to flex their toes. No part of the stage felt empty or unused. They moved with each other gracefully; the lifts were effortless, and the movements involving the props were seamless. It all seemed to be instinctive. The dancers were at par with each other and felt like a team, never stealing the spotlight but instead highlighting one another’s strengths. They started working on this piece in September 2024 and have truly achieved perfection.

The curtains opened with the dancers already on stage. Each character’s introduction was well thought out and choreographed. The significance of each prop was well-delivered, with every piece introducing new realms and realities that immersed the audience further as the performance progressed. The costumes perfectly embodied the characters and proudly showcased each character’s distinct differences.

Each choreographic decision–from how high to kick or how low to bend–was impeccable. There were very high stakes that played into this concept beautifully. The choreographer played to the dancers’ strengths, making “Family Tide” a flawless performance. From lighting to costumes to the sound–and, of course, the dancing–the performance was the embodiment of “dance to express, not to impress,” but in this flow of expression, they surely impressed the audience.

With such a high standard set in the first half, the audience’s anticipation for the second half only grew.

The curtains opened to reveal three dancers on stage, dressed in stunning costumes that were both similar and distinct. This piece, titled “Three Sisters,” was choreographed and performed by IMGE Dance from New York. It featured both trio and solo performances, each offering a deep exploration of the character’s persona. Each solo performance reflected a powerful emotion, with impressive movements and captivating music.

From the moment they started dancing, these women were breathtaking. This piece was just as beautiful as the first but varied in the story being conveyed. While the earlier performance emphasized family relationships, “Three Sisters” explored women’s connections and feminine strength. Every detail–from the costumes to the music to the background video projection–was carefully considered.

Choreographer Ishita Mili brought fire to the stage. She is a skilled dancer, an amazing teacher, and an even better choreographer. While all three dancers were remarkable, Shivani Lamba stood out in her grace, expressions, and technique. Despite not having a background in Indian classical dance, Hanna Gosztyla not only kept up but shone in her own right. Her solo was beautifully choreographed and executed.

The trio had impeccable coordination, and their performance had an undeniable “wow” factor. The music resonated through their piece. The three dancers executed specificity and articulation in their movements, which were both sharp and soft at the same time. It was commendable how these dancers not only performed but also executed turns while barefoot. They were incredibly strong, with an extreme attention to detail in their movements—even down to their eyes.

The second half of the festival fully delivered on the audience’s anticipation. The music selection was exceptional, and the choreography caught every minuscule beat in the music. The use of various dance forms and experimentation with different speeds was thoroughly enjoyable. There was a clear contrast in the forms displayed in the first and the second halves, yet both of them were equally enjoyable. This contrast highlighted the strengths of each performance in numerous ways. Hats off to the SIDF team for coming up with this. 

Even though I had never seen SIDF before, this dance production has set a high bar for dance in Seattle. This dance fest is a mixture of emotions, expressions, and the best choreographies, making the audience want to watch more.

As if the festival weren’t already flawless, they have decided to come up with an entirely new piece by next weekend. They will have just 24 hours to put together Mantis–a fusion of various dance forms and companies from SIDF. 

“I’m curious to see what we end up with,” said Khambatta.

I can hardly fathom the creativity of these two choreographers, and I can’t imagine what a fusion of these two creative minds will produce. To put it simply, in Khambatta’s words, “I’m looking forward to it.” 

See you there!