"Najma is the embodiment and living proof of the universality of Indian Dance- the totality of art and oneness with the world" -- Wind & Spirit Dance Magazine.

Najma Ayashah, eminent Kathak Dance advocator of the Jaipuri Tradition, is also known to have meliorated and incorporated the great Jaipur tradition of Kathak. She has done this with the elements of folk and Gypsy dance form while harmoniously blending with her unconventional sense of aesthetic attempt and free form.

In an original manner, Najma studied Kathak Dance and tabla at the Lahore School of Music. She entered the Kathak Kendra in New Delhi from there. At the Kathak Kendra she in a humble manner studied under the able guidance of the celebrated Guru Kundan Lal Gangani. Kundan Lal Gangani has been regarded as the distinguished and internationally renowned master of Kathak Dance. Since the age of 16, Najma has been teaching and performing in a widespread way throughout the world. Najma Ayashah in India received her initial training and certification from the Bhartiya Kala Kendra. Since the age of 18, she has traveled the major cities of the world and participated in various dance and yoga workshops and seminars.

Najma at this moment is serving as a faculty member at New York University. She is moving ahead the teaching tradition of Kathak Dance. Najma is also serving as the Artistic Director of Gangani Kathak Dance Co. New York City.

A new style of health and fitness has also invented by Najma. These all have been featured at the yoga organizations and health clubs. Her innovation, a mystical dance exercise is called "Yoga Dance." Presently she resides in New York City. She teaches on-going classes in Kathak, yoga dance and Indian folk dances there. Najma is inspired by temple sculpture. Thus Najma machinated this low impact dance exercise and has also been recognized as a curative and enlightening experience for all.

To name a few her production are: "Tree Goddess Dance" that describes the mystical rite of fertilization, in which the tree has been using as a metaphor; "Maya - Dance of Illusion"--- it exhibits the reflection of mirror-back images of illusion; "Kundalini Rising" --- this creation reflects the "serpent force" of the elusive body; "Kama Sutra" --- this production evinces `various poses of sensuality derived from the temples of India and depicting the wide range of emotions of which movement is manifested`.