Gracefully moving across the stage with her troupe, recreating Gangavataranam at Ravindra Bharathi, Maddali Soundarya delivered a performance that left audiences mesmerised. A Kuchipudi artiste, choreographer, Natyacharya, Doordarshan B-High graded artiste, and National Junior Fellowship holder, Soundarya has steadily built a name for herself through her dedication to classical dance.
Soundarya says her journey with dance began when she was seven years old. “My grandmother introduced me to the arts and enrolled me in Bharatanatyam classes under Sujata garu,” she recalls.
Growing up in a devotional atmosphere shaped by stories from the Ramayana, Mahabharata, and Bhagavatam naturally drew her closer to classical art forms. Though balancing academics and dance during school was challenging, she never considered stepping away from dance.
It was later, while formally pursuing Kuchipudi under Rama Devi, that she truly connected with the form. “I fell in love with its storytelling, expressions, and dramatic presentation,” she says.
After completing her Certificate and Diploma with distinction, her artistic journey further expanded after marriage. “Becoming part of the Kinnera family through my husband Kaushik Ram gave me even more artistic exposure,” she adds.
Speaking about inspiration, Soundarya credits both her family and fellow artistes. “My grandparents created a cultural environment around me, while my mother always taught me discipline and consistency,” she shares. She also admires Dr Sailaja Desai, fondly called Shailakka, for balancing family life and artistic dedication so gracefully.
Based on the literary work of Dr C Narayana Reddy, Gangavataranam became a deeply personal production for Soundarya, especially because the role of Goddess Ganga was choreographed on her. “I was involved in everything — from choreography discussions and rehearsals to understanding how the ballet was taking shape,” she says.
She credits violinist Mahavadi Vasu, singer Sharada Rasagna, and mridangist Chandrakanth anna for adding musical strength to the performance. “The Shiva and Ganga sequences became highlights because of the powerful Jathis.”
The production, first attempted in 2019, was reconstructed over months before being staged at Ravindra Bharathi. “We revisited the screenplay, reworked the music, and rebuilt the production almost from scratch,” she explains. One of the biggest challenges was redesigning the Shiva Jathi. “We experimented with dynamic movements and stage patterns while staying rooted in classical dance,” she adds.
For Soundarya, motivation comes from the journey itself. “Every performance, struggle, and experience becomes part of artistic growth,” she says. She is currently working on a new concept based on Krishna, titled The Supreme God.