Globally renowned Kuchipudi dancer Vyjayanthi Kashi recently performed at the NCPA Mumbai’s Mudra Festival. We caught up with her on the sidelines to know about the dance form, its future, her upcoming choreographies and more.
Excerpts:
Could you tell us about your performance at the Mudra Dance Festival?
At the Mudra Festival this year, I presented Shobhita, a Kuchipudi production that explored the elegance and depth of Āhāryābhinaya—the external expression through costume, ornamentation, and visual appeal. The performance unfolded in layers, beginning with a focus on rhythmic footwork and the bell ornament, progressing toward the hallmark brass plate segment that defines Kuchipudi’s distinct identity. I was joined by Ashwini, Abhirami, Shivani, Hima Vaishnavi, and Prateeksha Kashi, my senior disciples.
Next came Shilpa Saundarya, inspired by temple sculptures and their silent storytelling. We also performed Veni Vruttāntam, a piece centered on the cosmic symbolism of Satyabhāmā’s braid. The finale, Krishna Charitham, brought a rich theatricality to the stage, weaving Krishna’s story with layers of lāsya, tāṇḍava, and dramatic characterisation.
How important is music to broaden the horizon of choreography?
For me, music is where choreography truly begins. It’s the soul that breathes life into movement. Often, I let the music lead—I listen, absorb, and let it shape the choreography organically. There’s always a vision, an image in the mind, and music helps translate that into motion.
My background in music allows me to be part of the composition process—choosing the right rāga, exploring rhythms, and finding the emotional core of a piece. The same lyrics in different rāgas can evoke entirely different moods. While some believe rāgas are interchangeable, I think each carries a specific rasa that elevates the choreography in its own way.
Rhythm is another pillar. I often create choreography before locking the tāla—building jatis, counterpoints, and pacing that match the story’s pulse. Every musical decision is made with the narrative in mind.
How is Kuchipudi perceived outside India?
Kuchipudi’s vibrant footwork, expressive abhinaya, and layered narratives transcend language. While they may not grasp every detail, the essence is universally felt. Audiences abroad connect deeply with the emotional and visual aspects of Kuchipudi. Its theatricality—like dancing on the brass plate—captures their curiosity, while the nuanced storytelling and expressions create a lasting impression. One memorable moment was in Rome, when a woman hugged me after watching my portrayal of Kubja—her tears were testimony to the power of art.
With performing arts gradually becoming multidisciplinary, how do you perceive the future of Kuchipudi?
The multidisciplinary nature of today’s performing arts scene is both exciting and demanding. While fusion offers new dimensions, it’s essential to approach it with discernment. Innovation must come from a place of understanding, not a trend.
Earlier, classical training focused solely on the form. My own training included yoga for stamina and posture, but I also explored theatre and fitness techniques like aerobics and jogging. Today’s dancers have access to everything from Pilates to photography—tools that can enrich dance if applied wisely. My theatre experience has influenced how I build character-driven choreography. For instance, I integrated Thang-Ta, a Manipuri martial art, into a piece on Chitrangada—but only after years of study and reflection.
The key is balance. Multidisciplinary knowledge should enhance, not dilute, the essence of the form. Kuchipudi’s future lies in such thoughtful transformation, where innovation is purposeful and rooted in classical strength, not novelty. Used meaningfully, other disciplines can add texture to Kuchipudi, but the soul of the form must remain intact.
You often perform with your daughter, Prateeksha, who is also a Kuchipudi dancer. What is the most challenging and easiest part of performing as a mother-daughter duo?
Performing with my daughter, Prateeksha, has been an evolving and enriching journey. It began with a duet for International Dance Day and soon grew into a collaboration that explores deeper themes like Kubja, Krishna and Kunti, and Bhoomi Sita. Our emotional bond offstage enhances our chemistry onstage. We intuitively respond to each other’s cues, often improvising live. This synergy brings authenticity and spontaneity to our performances. However, balancing the roles of mother and guru can be complex. Creative differences arise due to generational perspectives and energy levels. Yet, these challenges also enrich our choreography—my experience adds depth, while her freshness brings vibrancy.
What is the significance of International Dance Day for you?
In 2002, I think I was probably the first from Karnataka to organise a festival for it. Back then, it felt rare and precious—a stage for artistes across the country to come together and celebrate dance in its purest form. Today, there are countless events and performances year-round. While it’s heartening to see younger dancers take initiative, the focus has sometimes shifted towards quantity over quality. The day now serves less as a celebration and more as a moment of reflection. So for me, International Dance Day is about honouring the essence of dance: its transformative power, its integrity, and its responsibility to tradition. It’s less about the number of performances and more about the depth of each one.
Are you currently choreographing any new performances?
I’m currently choreographing a new mother-daughter duo and a group production, both in the early stages.