14 hours Ago By Kausalya Rachavelpula
Rajashree and Madhumathi, in collaboration with Surasa Academy of Arts and Culture and Navya Nataka Samiti, are performing the 1-hour 30-minute long ‘Bhama Kalapam’ on 30th January 2025 at Ravindra Bharati, Hyderabad. In an exclusive conversation, renowned Kuchipudi dancers Rajashree and Madhumathi Kulkarni discuss their journey in classical dance and the financial struggles. Q: Where are you from? Rajashree: I’m from Bangalore, but originally, I hail from Mangalore.
My father worked for Dhanlaxmi Bank, and due to his job transfers, I was raised in Vijayawada. Madhumathi: I am Telugu-speaking and originally from Nellore. I moved to Bangalore for work and have now lived here for 22 years.
Q: Tell us about your journey in dance. Rajashree: My father had a deep love for the arts despite being a bank manager. He was involved in theater and dance, so he wanted me to learn Kuchipudi.
I trained under Vedanta Ramanuja Shastri in the solo format, as traditional Kuchipudi was restricted to hereditary families. I performed for nearly 10 years before moving back to Bangalore for my studies. Bangalore had a more competitive scene with Bharatanatyam dominating, so I had to work extra hard to make a name in Kuchipudi.
Winning national-level competitions helped me gain recognition. Later, I pursued my Master’s at Patishirama University in Andhra Pradesh. Q: How did you and Madhumathi start working together? Rajashree: By God’s grace, I met Madhumathi in Bangalore.
We, along with another dancer, Shweta, formed Kadamba, a performing group that blended different artistic elements, much like the flower of the same name. Though not a formal trust, we performed together at multiple events, promoting Kuchipudi in a city dominated by Bharatanatyam. Madhumathi: We lived just a kilometer apart, so it became easy to collaborate.
We found strength in each other to keep Kuchipudi alive in Bangalore’s competitive dance landscape. Q: Rajashree, you mentioned that Kuchipudi was once restricted to certain families. How has that changed? Rajashree: Yes, traditionally, only Brahmin families from Kuchipudi village were allowed to learn it, and all roles—including female ones—were performed by men.
Over time, the format evolved, and solo performances became common, allowing women like us to pursue the art form professionally. Q: Many believe that classical dance isn’t financially sustainable. What has been your experience? Madhumathi: It’s true that dance, unlike a salaried job, is seasonal.
When I was 16, my family faced financial struggles, and I realized early on that earning from dance depends on demand, location, and pricing. Initially, I charged ₹10,000 for classes in Bangalore, but with a floating crowd of students, it wasn’t sustainable. Later, I learned that offering classes at lower rates devalues the art.
During the pandemic, my husband’s business struggled due to demonetization, GST, and then COVID-19. That’s when I decided to offer online classes—a concept I had resisted before. To my surprise, I earned ₹60,000 per month by teaching students from India and the US.
Q: Online classical dance training? Was that a challenge? Madhumathi: Initially, yes. I believed classical dance couldn’t be taught online. But parents insisted, saying they couldn’t bring their children to class.
So, I adapted—I trained students online and allowed them to visit me occasionally to refine their skills. US students paid $80–$120 per session, which helped sustain my family. I limited my student intake, ensuring quality over quantity, and this made a huge difference.
Q: What do you think is the biggest challenge for classical dance teachers today? Madhumathi: The gap between students who want to learn and teachers who need financial stability. Some students are willing to pay, but finding those pockets of demand is difficult. Many great teachers struggle because they don’t reach the right audience.
If we bridge this gap, dance can be as financially viable as any other profession. Q: When did you learn Bhama Kalapam? Madhumathi: We have learnt the authentic form of it from Vedantham Satya Narasimha Shastri. He is going to perform with us as ‘Madhavi’, the sakhi of ‘Bhama’.
Rajshree as ‘Krishna’ and I am ‘Bhama’..
