“I have always tried to present Kuchipudi not only as a performance tradition, but also as a complete cultural and intellectual system,” says Veena Murthy Vijay.
The Sangeet Natak Akademi (SNA) Award was recently bestowed on the Bengaluru-based dancer for her contributions to the field of Kuchipudi that led to a revival of the dance-drama tradition. Veena worked to restructure several aspects of the dance form to suit contemporary sensibilities, and has ideated productions that appeal to younger audiences.
“My experimentation is not at the cost of tradition; I have enhanced traditional pedagogy to make it relevant to young students with their present-day outlook,” she says. Veena has also written a Kannada book, Tere that traces the evolution of dance, which was published by the Karnataka Sangeeta Nrithya Akademi.
“Receiving the award was a humbling experience. It was also gratifying, as it was a recognition of my perseverance, research, performances, and teaching. When I began learning dance as a child, I did not imagine I would one day be given our country’s highest honour in the performing arts. My only dream was to learn and serve this graceful art form,” says Veena, who received the SNA Award from President Murmu recently.
Veena’s interest in thematic productions is reflected in her repertoire. For instance, her piece Gaja Gaurava – Balarama Katha commissioned by the Dept of Kannada and Culture at the Mysore Dasara, encapsulated the life story of Balarama, one of the most popular elephants at the Mysore Palace. Her 35-strong student ensemble traced the animal’s life through music and dance.
Seven years ago, Veena choreographed Chitra Nritya, where the dancer drew a peacock (Mayura Sandesha) with her feet during the performance. “Apart from a sense of rhythm, a dancer should have artistic talent too.“
Veena Murthy Vijay
| Photo Credit:
Special Arrangement
Traditionally, Devadasis practised Chitra Nritya in temples, but renowned Kuchipudi guru CR Acharyulu structured them as individual dance features. Veena was amongst the first of Acharyulu’s disciples to learn the nuances of this form.
Veena, also a recipient of the Karnataka Kalashree Award, was just 18 when she performed the three-hour original production of a ritualistic temple dance as a solo dancer. Now, a Kuchipudi and Bharatanatyam exponent, she has shortened the production for modern audiences.
A journey of five decades
Talking about her journey that redefined the presentation of artistic values in Kuchipudi, Veena says it has been a lifelong, in-depth study of Indian culture as a whole. “Dance, for me, cannot be separated from literature, Vedic philosophy, theatre, music, grammar, sculpture, aesthetics, and spirituality. These disciplines together form the foundation of my understanding of Kuchipudi which I believe is one of the most complete classical dance forms.”
Veena’s formal training in Kuchipudi began under Korada Narasimha Rao and later, Acharyulu. “I am fortunate to have received guidance and inspiration from my gurus, Vempati Chinna Satyam, Vedantam Venkata Naga Chalapathy Rao and Nataraja Ramakrishna. The greatest lesson I learnt from my gurus was that tradition should never become rigid. Authenticity does not prevent innovation. Rather, it provides the foundation upon which meaningful creativity can flourish.”
Talking about her research on the convergence and divergence of Kuchipudi and Yakshagana, Veena says, “This comparative study enabled me to introduce new movement possibilities into Kuchipudi while remaining rooted in tradition. I have also introduced new adavu patterns inspired by Yakshagana traditions and incorporated Kannada literature into Kuchipudi choreography, thereby creating a dialogue between the cultural traditions of Andhra Pradesh and Karnataka.”
“When I was a student the emphasis was primarily on the guru-shishya tradition, repertoire, and performance. Today’s tech-era students require a broader perspective with the study of Sanskrit, literature, mythology, music, aesthetics, theatre, choreography, stage craft and documentation. I also see to it that students remain firmly grounded in traditional practice because innovation without a strong foundation can weaken the art form. Relating to young minds is paramount to keeping the art form alive.”
Veena Murthy Vijay
| Photo Credit:
Special Arrangement
Over the years, Veena has introduced themes such as environmental conservation, women’s empowerment, spirituality, devotion, and universal peace, into her choreography. “One of my experimental explorations involved incorporating Tibetan hymns into Kuchipudi movement vocabulary to create a dialogue between different spiritual traditions. I was able to present this at several shows across the country.”
Her latest production Satyabhama portrays the iconic character through four different Indian classical dance traditions.
Veena’s Sri Rajarajeshwari Kalaniketan Dance School is celebrating its golden jubilee with the Samanvay Arts Festival, a day-long showcase of Indian classical dance, movement, and narrative theatre.
Samanvay Arts Festival is onSeptember 19, Chowdiah Memorial Hall, from 4.30pm. Tickets starting at ₹250 (₹100 for students) available at kuchipudibangalore.com
Published – September 16, 2026 06:17 pm IST
