Kuchipudi Danseuse Shantha Ratii Preserves Indian Classical Tradition While Innovating On Foreign Soil

From the traditions of Kuchipudi to the improvisations of Kathakali, Singapore-based Shantha Ratii has spent decades crafting a global narrative for Indian classical dance.

Shantha Ratii is a moving sculpture when she performs, each gesture deliberate yet organic. To watch her dance performances is to witness the paradox of Indian classical art forms: their grounding in the ancient, and their capacity to create the ephemeral.

Trained under gurus of lineage across Bharatanatyam, Kuchipudi and Kathakali and other classical dance forms, the artist is a confluence of discipline, creativity and curiosity. “I began my pas de deux with dance at five,” she says over the phone from her home in Singapore, her voice carrying the same poise as her movements.

Trained under the luminaries of Indian classical dance, including Gurus Padmashree Adyar Lakshman and Padmabushan Raja Radha Reddy, her forte lies in Kuchipudi. It is a dance form born in the villages of Andhra Pradesh known for its lyrical beauty, intricate footwork and theatrical storytelling. Ratii's artistic journey extends beyond the boundaries of a single style. She brings to her practice a philosophy informed by Kathakali’s Manodharma (improvisation) and the universal language of movement.

A Legacy of Storytelling

Kuchipudi is a dance form that marries technical virtuosity with narrative depth. Unlike its cousin Bharatanatyam (which leans heavily on abstraction), Kuchipudi thrives on Natya(the dramatic element of Indian classical dance). Originating in the 17th century as a male-dominated tradition performed in temple courtyards, Kuchipudi has evolved into a vibrant and inclusive art form. “Kuchipudi is storytelling in motion,” the accomplished artiste tells the ETV Bharat Lifestyle team. “Each step, each expression, carries a layer of meaning.”

The hallmark of Kuchipudi is its dynamic range—it transitions seamlessly from intricate footwork to fluid abhinaya(expression), from moments of quiet intensity to bursts of energetic movement. Ratii’s performances capture this duality. Ratii sees Kuchipudi as a cultural dialogue rather than mere performance art. “When I perform abroad, I see my work as a window into Indian classical dance,” she says. “It’s just a drop in the ocean of what we artists can do for art.”

Her artistry is deeply influenced by the Manodharma of Kathakali. Unlike other Indian dance forms, Kathakali does not focus on rehearsing specific sequences or items. Instead, it relies on Manodharma, an improvisational approach where the dancer becomes a co-creator, responding to the mood, music and audience in real-time.

“In Kathakali, there is no such thing as practising an item,” Ratii says. “It’s about surrendering to the moment, about allowing the character to emerge through you.” This philosophy resonates with her, since she incorporates improvisation into her Kuchipudi performances. “Even within the framework of classical dance, there is space for the unexpected,” she says. “It keeps the art alive, breathing.”

Manodharma transforms performance into a spiritual exercise. It demands not only technical skill but also an acute awareness of the present. In the danseuse's words, “It’s like stepping into a river. You never step into the same water twice. Each performance is unique because the moment is unique.”

Global Dialogue Through Dance

Though rooted in tradition, Ratii's work often explores cross-cultural collaborations. Living in a multicultural place like Singapore has enriched her artistic vision. She speaks with fondness of her early exposure to Chinese ballet, which she encountered as Singapore’s cultural ambassador. “That intimacy sparked a dialogue between the dance forms,” she says. Her production 'Writings On The Wall' blends Indian dance with Chinese calligraphy, while 'Confluence' pairs Kuchipudi with oud music from the Middle East.

Yet, Ratii is careful to preserve the essence of classical dance. “I don’t dilute the classicity,” she asserts. “It’s a cathartic process, not a compromise.” Each collaboration is a reflection of her belief that art transcends borders. Her latest project is set to premiere during Singapore’s 60th birthday celebrations, and explores the stories of the river people who were displaced to Malaysia in ancient times. “Their stories are our stories,” she says. “Dance can carry their voices across generations.”

Art As Resistance

For Ratii, dance is also a form of resistance. In a world increasingly fractured by conflict and division, she turns to ancient epics for inspiration. One of her upcoming productions reimagines the Mahabharata through the eyes of Kunti and Gandhari (two women whose voices are often overshadowed by the epic’s male heroes). “The way the world is going is disturbing,” she says. “Art must respond. It must provoke, question and heal.”

Her belief in the transformative power of art is unshakable. Whether she is choreographing a Kuchipudi solo or directing a documentary on Asian dance, Shantha’s work reflects her commitment to using art as a tool for dialogue and change. Recognition has come to Shantha in many forms: the title of Kalashiromani, performances at prestigious festivals and critical acclaim. Yet, she remains untouched by accolades, viewing them as milestones rather than destinations. “For my art to reach a level of artlessness,” she says, “it should flow.”