Since 2011, Malaysia has witnessed the emergence of Bharatanatyam performers who are not of Indian ethnicity, groomed through dance studies at Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA), a tertiary arts institution assessable to students of all ethnicities. The performance of Bharatanatyam, including the completion of the Arangetram, for these performers who are generally from middle income, non-urban families that are less exposed to cultures of the "other" is ground-breaking. This paper argues that these Bharatanatyam dancers of multireligious backgrounds and diverse ethnicities have an invaluable place in an art form steeped in tradition and religiosity, especially in a country slipping further into religious conservatism. Their performativity of the Malaysian transcends government-conscripted identities and presents a potent site for dialogue in Malaysia. This article highlights the role that dance education and performance can play in blurring racial and religious boundaries through Bharatanatyam, especially in Malaysia.