Dance, Discipline, and Devotion

A passionate Bharatanatyam soloist known for her deep-rooted training and soulful performances. After a successful corporate career, she returned to dance with renewed purpose and academic rigour. Sujatha Ramanathan work blends tradition with thoughtful innovation, often drawing from texts like the Ramayana and Natya Shastra. She is trained in multiple movement forms including Mohiniattam, Kalaripayattu, and Navarasa Sadhana. She continues to perform, choreograph, and mentor, with a vision to create meaningful artistic experiences. She recently performed at NCPA in Mumbai, excerpts from the interview:

Tell us about your dance training and background?

I grew up in Chennai in an environment where dance and music were an integral part of life. Watching several stalwarts perform in sabhas left a lasting impression on me from a very young age. I believe my journey began when I was around five years old, as rhythm came very naturally to me. My initial training came from several teachers, including the revered Padma Shri Guru Adyar K. Lakshman in Chennai. Although I qualified as a Cost Accountant and pursued a professional career in banking—eventually becoming Senior Vice President in an MNC bank and later the India Business Head of a tech start-up—dance found its way back into my life. After more than two decades in the corporate world and having moved to Mumbai, it was Guru Lata Raman who reignited my passion for dance. She encouraged me to pursue my Masters (Alankar) in Bharatanatyam and a Bachelor’s in Music from Annamalai University. That marked a new beginning for me—it’s been a decade now, and dance has given me a new life.
Performing as a soloist has been a tough but fulfilling path. I’ve just kept learning, growing, and performing. None of this would be possible without my incredibly supportive family—my mother, my biggest inspiration, my husband who never says “no,” my sons, and dear friends who have stood by me.

In recent years, I’ve developed a deep interest in Natya Shastra and the Karanas, studying under Dr. Sujatha Mohan (disciple of Dr. Padma Subrahmaniam). I’ve also trained in the intense abhinaya and theatre technique of Navarasa Sadhana under Guru G. Venu and am pursuing Mohiniattam under Dr. Nirmal Panicker. Additionally, I’m learning the violin from Smt. Lalitha Ramachandran, and I’ve trained in Kalaripayattu, Chau, and the dancer flow technique.

Could you share more about your first show at NCPA?

I’ve been fortunate to perform at several prestigious venues such as India Habitat Centre, Bangalore International Centre, Kalaghoda Arts Festival, the Chennai December season sabhas, ISKCON Mumbai, and many more. I often work on new choreographies, blending traditional repertoire with new ideas.
Some of my choreographic works include Raas Antara, Vidivu, Hanumanin Thavam (choreographed specially for the Melattur Bhagavata Mela—an unforgettable divine experience), Dakshina Dwaraka, and a duet Kathak-Bharatanatyam piece titled Soorya.
Rama Amritam has been particularly close to my heart. It premiered in Chennai and later twice in Bangalore. However, bringing it to Mumbai—my home—and performing it at the NCPA was truly a milestone moment. Premiering my own full-length concept and choreography to a full-house audience was exhilarating. The audience’s warm reception, and the fact that many expressed a desire to see the work again, reaffirmed my belief in the path I’ve chosen. Rama Amritam explores the timeless relevance of Bhagawan Rama’s life and lessons. The intent is to connect with his spirit and recognize his essence in ourselves. The process was deeply enriching and it was gratifying to see that the audience connected with the narrative.

Please tell us about the show “Rama Amritam” and the team behind it?

Rama Amritam is a full-length solo Bharatanatyam production, with elements of Bharatanrityam. The centerpiece is the composition Ramam Ravikulambhudi Somam, written by Mumbai-based lyricist and composer Shri P.S. Krishnamoorthy. This was the seed that inspired the entire production.
Given my strong background in music, I could ensure the performance was musically and rhythmically balanced—a detail that resonated well with the audience. The structure follows a traditional Margam. It opens with a Mallari, moves into a prelude—featuring a conversation between Shiva and Parvati—progressing to depictions of young Rama, the warrior prince, and eventually culminating in a vibrant tarana composed by Raghuram. Episodes such as Jatayu Moksha and Vali Dhamana are elaborated through intense abhinaya and movement. I am happy I had for Research Guidance Dr. S. Raghuraman, for texts Kamba Ramayanam and Ram Charitmanas, compositions by P.S. Krishnamoorthy, Raghuram Rajagopalan, Satish Krishnamoorthy, costume design Sandhya Raman, Light Design and Execution Sushant Jadhav, Recording Studio Omkar Studio, Bangalore and Sound Engineer B. Omkarmurthy.

What are your future plans?

I’m currently working on a unique initiative that brings together visual and performing arts in a single event. Scheduled for June 19th, it will take place in an art gallery, where I’ll be presenting a new solo work titled Bheeja (The Seed), aligning with the gallery’s visual art theme. I’m collaborating once again with Satish Krishnamoorthy on the composition, joined by Sujesh Menon on vocals and my violin teacher Smt. Lalitha Ramachandran. I hope Bheeja becomes the seed for another intense and immersive creative work. Looking ahead, I want to develop a platform that enables more artists to present their work—essentially curating events that create meaningful performance opportunities.
Personally, I aim to dedicate more time to my violin practice and my ongoing Mohiniattam training. One of my outreach initiatives, Movement and Expression, has been well-received, especially among senior citizens. I hope to bring it to more learners, sharing the joy of movement and abhinaya in an accessible way.

Sandip Soparrkar holds a doctorate in world mythology folklore from Pacific University USA, an honorary doctorate in performing arts from the National American University, He is a World Book Record holder, a well-known Ballroom dancer and a Bollywood choreographer who has been honored with three National Excellence awards, one National Achievement Award and Dada Saheb Phalke award by the Government of India. He can be contacted on sandipsoparrkar06@gmail.com