Archana Raja: Dance Has A Way Of Leading You Where You're Meant To Go [Kuchipudi & Bharatanatyam Dancer, India]

Archana Raja Interview

 

Archana Raja is a contemporary Kuchipudi and Bharatanatyam dancer whose work bridges tradition and modernity with remarkable honesty. From beginning anew after two decades of mastery to creating socially conscious dance productions, she continues to prove that artistic growth begins where comfort ends.

Q. If the version of you who first stepped into a dance class at age five could watch you perform today, what do you think would surprise her most?

If the five-year-old version of me could watch me perform today, I think she would be most surprised that the excitement she felt walking into her very first dance class never really disappeared. The joy, curiosity, and sense of wonder that made her want to dance are still what carry me onto the stage, even after all these years.

She would probably also be quite confused to see me performing Kuchipudi instead of Bharatanatyam. After all, Bharatanatyam was the only world she knew. I think she'd ask, "When did that happen?" And I'd tell her that dance has a way of leading you where you're meant to go. Bharatanatyam gave me my foundation, but somewhere along the journey, I found my artistic home in Kuchipudi.

Q. You started learning Kuchipudi during the pandemic lockdown, after 20 years as an established Bharatanatyam dancer. Going back to being a beginner after two decades of mastery is hard for most people. What was that shift like for you? Was there a moment you doubted yourself, and what got you through it?

I definitely doubted myself, but that came much later. In the beginning, what I felt was pure catharsis, love, and joy. Learning Kuchipudi during the pandemic became a refuge. I was almost addicted to it—every class left me wanting more.

Perhaps that was because I never imagined performing it professionally. There was no pressure. I wasn't trying to prove anything or compare myself to where I had been as a Bharatanatyam dancer. I was simply learning again for the sheer pleasure of learning. That freedom was incredibly liberating.

Today, Kuchipudi has also become my career, and I'm deeply grateful for that. But if I'm honest, my greatest joy will always be the classroom—the dance class, the daily practice, the long hours of sadhana, and the quiet discoveries that come with learning something new. That is my truth. Performances, recognition, and the proscenium stage are beautiful, but they are only one part of the journey. The practice itself remains the heart of it.

Q. You once said you trained as a child without phones or social media—no distractions. What did that focus feel like? Do you think today's students are missing that, or has technology become a resource for them?

I feel incredibly fortunate to have grown up in a time before smartphones and social media. Dance class was my playground. After school, that's where I wanted to be—a space where I could be completely immersed in learning.

Today's students have many more distractions, and the pressure to constantly be visible or gain followers can be overwhelming. At the same time, social media is also an incredibly powerful resource. It has helped me connect with artists and watch performances I may never have had access to otherwise.

It's a boon when you know how to use it in service of your art. It becomes a bane when it starts replacing the discipline, patience, and time required to truly hone your craft.

Q. You've said pursuing two dance forms is difficult because people tend to categorize artists—a tension you've experienced while training under Kasi Aysola in Kuchipudi after two decades in Bharatanatyam. How did you move past the pressure to stay in one box?

I have faced criticism, and I continue to, because in the Indian classical dance world, I am still considered a relatively young Kuchipudi practitioner. Transitioning styles in your late twenties—particularly after establishing yourself in another form—is uncommon. I think many dancers who have made similar transitions, especially within the Chennai dance community, would understand that experience.

At times, the criticism and peer pressure have been disappointing. What has helped me stay grounded is my teacher and my honesty towards my own practice. I don't believe in putting myself into a box. I remain true to what I receive from my guru and allow that training to become the springboard from which I explore, evolve, and grow.

Q.'C-Word (Yellamma, Work-in-Progress)' was your first explicitly feminist work and your first time stepping outside the traditional Margam. You've said, "She never wanted to be one, but they made her a goddess." What drew you to tell her story this way? Do you resonate with her?

What began as C-Word (Yellamma), a work-in-progress, has now evolved into a full-length production titled The Accidental Goddess. It tells the story of Renuka—a princess whose life was shaped by circumstances and choices made by the men around her.

Over time, the work underwent deep reflection and transformation, moving beyond the retelling of a myth to examining questions of identity, power, and resilience. In many ways, Renuka's journey became a space through which I could reflect on the experiences of many women, including parts of my own.

Q. A lot of young dancers today are torn between academic pressure, hustle culture, and the pull of art. If a student came to you unsure whether to continue dancing or focus on "practical" success, what would you tell them?

Spend time honing your art and striving for excellence, and then learn to hustle. You won't have much to build a career around if you are not truly good at what you do. This applies to every field, not just dance.

Today, there are many talented artists, and the space is increasingly competitive. Being average does not guarantee longevity. Your foundation has to be strong, and your craft must be constantly refined.

Once you have something meaningful to offer, then you can think about visibility, networking, and building a career around it. The hustle should amplify your art—it should never replace it.

Q. What is one book or film you would recommend to our readers that has inspired you?

I would highly recommend The Power of Habit: Why We Do What We Do in Life and Business by Charles Duhigg—it's a fantastic read.

Beyond that, I would encourage readers to explore translations of ancient Sanskrit literature, watch documentaries on artists from around the world, and simply take a moment to enjoy the world around them. Enjoy human relationships. Enjoy moments of stillness. Sometimes, inspiration lies in something as simple and profound as taking the time to appreciate your own breath.

Bio

Archana Raja is a contemporary Kuchipudi and Bharatanatyam dancer known for reimagining classical repertoire through a modern, socially conscious lens. Trained in Bharatanatyam under Guru Sheela Unnikrishnan, she made her Arangetram in 2006. In 2020, she began training in Kuchipudi under Kasi Aysola, completing her Rangapravesam in 2023. Her work spans traditional margam to original productions exploring gender, mythology, and identity — including a reimagining of Yellamma's story and a piece on plastic pollution. Archana continues to perform, choreograph, and teach, bridging two classical traditions with a distinctly contemporary voice.

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Interviewed by - Palak Soni