Aishwarya Meenakshi

Aishwarya, you are a Kuchipudi dancer, classical musician, teacher and an active performer. What does a regular day in your life look like?

Honestly, no two days look exactly the same, but they all circle back to dance and music in some way. I usually start my mornings with practice either Kuchipudi or some vocal work that sets the rhythm for my day. Somewhere in between, I squeeze in a quick workout, which could be yoga, some strength training at home, or even a game of badminton if I can manage that.

Since I live by myself, a part of my day also goes into very regular things like cooking and cleaning. Then there are my online classes with students, which I really look forward to because teaching gives me fresh perspectives on the art. The rest of the time, you’ll find me on my laptop, sending out emails to organisers and coordinating upcoming performances. And through all of this, there’s always music playing in the background. It's like a constant companion that keeps me moving.

You are also an actor and a model. How did that journey begin and how do these different hats you wear intersect?

I think acting was always in the cards for me, because as a dancer you’re constantly stepping into characters. Kuchipudi is so full of expression that it never felt like a huge leap, just a different stage. My training in Navarasa Sadhana with legendary artiste, G venu also pushed me to explore emotions in-depth, which has been such a gift for both dance and acting.

Aishwarya Meenakshi with legendary artiste Sri G Venu

When I lived in Chennai between 2020 and 2022, I was literally surrounded by film people like directors, writers, technicians, actors. Dinner table conversations were all about cinema, and I think that atmosphere just nudged me to give acting a try. So I started auditioning, and one thing led to another. Recently, I shot an advertisement with Varun Dhawan for Fast&Up, which was such a cool experience which is definitely one for the books!

For me, whether it’s dance, music, or acting, it’s all storytelling. I just enjoy switching hats and finding new ways to express myself.

You live in Delhi, learn Kuchipudi from Sreelakshmy who lives in Kerala… does the place we live in and practise our art matter? How do you stay inspired to create and practice work in a form that is so far away from where in a sense it belongs? Or does that not matter at all?

For me, art has never been about where you are, it's about how deeply you want to learn. If your heart is set on it, geography doesn’t matter. Moving cities felt like the smallest price to pay to be in the presence of my Gurus. My life truly shifted after I met them, and while the decision to move to Kerala was easy, the journey that followed came with its share of challenges. I feel incredibly fortunate that my parents stood by me and trusted my choice.

When the pandemic struck and I had to return to Delhi, it felt like a piece of me was missing. The moment things began to open up, I didn’t think twice before moving back south. That pull to be near my Gurus, to stay immersed in the art, was stronger than anything else. At every stage, I chose dance even if it meant supporting myself with different kinds of work just to keep my learning alive. Today, living as a full-time artiste feels like the happiest outcome of all those choices, and I wouldn’t trade it for anything.

This year, you premiered Soorpanakha, which is choreographed based on a re-imagination of this character from the Ramayana. What is it about Soorpanakha that fascinates you and tell us more about this work?

Soorpanakha has always fascinated me because she is such a layered character. She’s often reduced to being “the asura princess” or “Ravana’s sister,” but if you look closely, she’s so much more. She was actually named Meenakshi at birth, but because of her long nails and slightly unusual appearance, her brother renamed her Soorpanakha. Right from the start, she was defined by how others chose to see her.

What drew her to me was her spirit, a free woman wandering the forest, unafraid to express her love for Rama. Her femininity, her boldness, her emotions were dismissed and ridiculed simply because she didn’t fit into society’s idea of beauty or propriety. And then, to have her very body deformed by Lakshmana as punishment for confessing her feelings… I couldn’t help but ask, what was her fault?

For me, Soorpanakha becomes a mirror of how society often dictates who gets to express desire, who gets to be heard, and who is silenced. Through this re-imagination, I wanted to explore that pain, that raw confrontation, and also her power because despite everything, she remains unforgettable.

In recent times, we do see a many artistes portraying characters from epics and approaching them with a new understanding. What have your discoveries been from exploring Soorpanakha in-depth?

This work was choreographed and envisioned by my teacher, Smt Sreelakshmy Govardhanan, so the deeper discoveries and interpretations really belong to her. I have simply had the privilege of stepping into the role and receiving the production as her student.

That said, even as a performer, Soorpanakha has taught me so much. Every time I inhabit her, I feel the weight of her vulnerability, her boldness, and her pain. It has pushed me to question how we view women who dare to express desire, and how society decides whose voice is heard. So while the creative lens is my Guru’s, the journey of embodying Soorpanakha has been transformative for me personally.

Tell us also about your experience of being part of Jhalaa, an ensemble of AR Rahman consisting of Indian classical musicians and dancers that premiered this year.

Honestly, I did not expect to be selected at all. The audition call was so specific — “Female Indian classical dancer who can also sing Indian classical music” — that about five or six of my friends forwarded it to me and said, “This is literally you, just audition!” I sent in my application without thinking too much, and then out of nearly 750 applicants, I got chosen. It still feels surreal.

I went in assuming I’d be dancing most of the time, but it turned out to be heavily singing-based with just a little bit of dance. That shift has pushed me to a whole new level of practice and precision for my singing, which has been so enriching. And then of course, to be around stalwarts like Rahman Sir, Sai Shravanam Anna, and our vocal coaches Bhavdeep Jaipurwale sir and Dr Narayan Sir. It's honestly unbelievable. I still find myself pinching myself every now and then to make sure it’s real.

What makes it even more special is that Jhalaa allows me to live both sides of my identity as a dancer and as a musician at the same time. It feels like everything I’ve been learning all these years is coming together in one space.

Talk to us about music; also about the music of Kuchipudi and how knowing music helps you with your understanding and response to dance?

Music has always been at the core of my life. I started learning Carnatic vocals from my grandfather, so singing was something I grew up with very naturally. Later, when I headed the Indian music society in college, I was also drawn to Hindustani music, and that gave me another way of listening. So when I dance, it never feels separate from music. It is all the same.

In Kuchipudi, the music and rhythm are everything. When I practice, I often sing through the passages before dancing them. It helps me feel the raga and the flow of the sahitya more deeply. Sometimes, if I can hear where a musical phrase is going, my body automatically knows how to respond whether to pause, stretch, or land into the beat.

I think knowing music makes me a more sensitive dancer. It keeps me connected to the soul of the piece, not just the movement. And honestly, it makes practice a lot more joyful too because on most days, I’m dancing, singing, and surrounded by music all at once.

How does your knowledge of Psychology and your experience as a Dance Movement Therapy Facilitator help you in creating a more positive space for teaching art to children?

My background in Psychology and my experience as a Dance Movement Therapy facilitator have definitely shaped the way I approach teaching. I worked at the APL Global School in Chennai, where I got the chance to work closely with a lot of neurodiverse children. That experience really opened my eyes; it taught me to be more empathetic and to recognise that every child has their own way of engaging with art.

Instead of sticking to one rigid method, I began finding multiple ways to make learning inclusive and fun whether that meant breaking things down differently, using more movement games, or simply creating a space where children felt safe to express themselves without judgment. I think dance and music become the most powerful when they are joyful, and Psychology helped me understand how to create that joy for each child in their own way.

What would you like to change in the current pedagogy of arts education for children?

I actually feel we’re moving in the right direction with arts education for children. There are some wonderful NGOs already doing great work. For instance, I used to work with Enabling Leadership, an NGO that builds leadership qualities in children through music, football, and even LEGO. They have this really interesting six-year curriculum that’s beautifully structured and very well-executed.

What I feel we need are simply more initiatives like these. Not only would that benefit children but also it would create more employment opportunities for artistes. Because the reality is, performances alone don’t always bring financial stability, and there are so many talented artistes in our country who deserve that support. If we can create an ecosystem where artistes feel safe and secure, they’ll be able to confidently pursue their careers in the arts — and in turn, give so much back to society.

If there is one thing you’d like to do for the Kuchipudi scene in the current context, what would it be and why?

If there’s one thing I’d love to see in the Kuchipudi scene right now, it’s more collaboration. In Bharatanatyam and Kathak, you often see artistes coming together so seamlessly to create something meaningful. In Kuchipudi, at the moment, most of us are quite comfortable within our own circles. While that has its charm, I really wish we could step out and work with each other more.

Collaboration opens up so many possibilities with new ideas, fresh energy, and a stronger sense of community. And honestly, Kuchipudi deserves that. So yes, this is also my open call to fellow Kuchipudi artistes for a collaboration with me ( wink wink ) !