Yumi Balami

Rani Dixit is a Nepali choreographer known for her expressive movement style, graceful formations, and strong contribution to Nepali film and stage choreography.

Yam Gurung is a famous Nepali dance choreographer and folk dancer. He is considered an expert in typical Nepali folk dance. Yam Gurung has been working as a folk dance director in Sadhana Kala Kendra. He Has directed many videos and played them himself.

Rabita Magar is a Nepali dancer, model, and choreographer from Manthali‑11, Ramechhap, known for her strong folk‑fusion identity and competitive achievements, including becoming the 4th‑place Finalist of Rio Chamchami Season 3 and the Winner of the National Open Folk Dance Competition 2076 (Province 3).Born in 2053 Ashoj (September/October 1996 AD), she began her formal dance journey in 2069 BS (2012 AD) at Shikhar Chahari Sanskritik Kala Kendra, where she trained in folk, cultural, and stage performance. Her dedication to dance shaped her artistic identity early, eventually leading her into professional choreography and modeling.Rabita is recognized for expressive storytelling, clean folk footwork, and confident stage presence. She remains active in cultural shows, music videos, competitions, and youth‑focused dance platforms, representing the new generation of Nepali folk‑fusion performers.

Kamal Rai is a veteran Nepali dance director and choreographer active since 1984, credited in more than 120–150 Nepali films and widely regarded as one of the most prolific movement creators in the industry. Known for his versatility across commercial, romantic, and folk‑influenced choreography, he has shaped dance sequences for multiple generations of actors. His work spans major titles such as Himmatwali, Phagu, Bhuimanchhe, Jiwan Kanda Ki Phool, Poi Paryo Kale, and Baina, along with contributions in direction, mixing, lyrics, and cinematography. A 2024 feature interview highlights him as a choreographer and director with experience across 300+ films in Nepali and regional cinema, underscoring his long‑standing influence on South Asian screen dance.