Under the golden hues of a setting sun, Samudrala Madhavi Ramanujam’s journey into Bharatanatyam began as a divine calling—a talent nurtured by her family’s blessings and her undying passion for the ancient art form. “By God’s grace, it’s a gift,” she recalls, her voice tinged with gratitude. Even as a child in first and second grade, her natural flair for performance captivated her family. She would effortlessly mimic actors, which sparked the realisation of her potential. Her father, grandmother and elder relatives made a pivotal decision to introduce her to the disciplined world of classical dance.
“My peddanana (uncle) and peddamma (aunt), who lived in Nallakunta, played a crucial role,” Madhavi reminisces. Her elder sister was already learning Bharatanatyam under Kathyayini Garu, a revered guru of the Tanjavur Sampradaya. Encouraged by her family, Madhavi joined the same classes. Under Kathyayini Garu’s guidance, she rigorously trained, completing her foundational studies in Bharatanatyam up to the graduation level.
Her academic journey was equally commendable. Madhavi pursued public personnel management and earned an MA in English from Osmania University, all while continuing her Bharatanatyam diploma through Telugu University. The intertwining of academia and art deepened her passion, prompting her to explore Kuchipudi. Dr. Uma Rama Rao, a legendary figure and recipient of the President’s Award, Sangeetha Nataka Award and Mahila Ratna, shaped Madhavi’s artistic sensibilities.
Marriage brought new challenges and opportunities. In the 1990s, she moved to Adilabad, a remote tribal region. Guided by Uma Rama Rao’s advice, she decided to establish her Bharatanatyam classes there, despite limited resources. “Adilabad was untouched by such cultural exposure,” she explains.
Starting in 1995 with only a certificate in Bharatanatyam, her determination drove her to compose intricate Annamacharya kirtanas, thus spreading the knowledge of this ancient dance form. Her institution became a beacon of cultural exchange, introducing students to new languages, subjects and traditions. In 1998, her passion culminated in the founding of the Vibhavari Dance Academy in Adilabad. There, she dedicated herself to teaching thousands of students. Over the years, the academy grew into a full-fledged institution offering graduation-level training, with students pursuing certification and diplomas through Telugu University.
Her influence has extended beyond her direct tutelage. Many of her students—now professionals in various fields like IT, medicine, education and more—continue her legacy by teaching Bharatanatyam while excelling in their careers. “It’s heartening to see the art form thrive through their dedication,” she shares, pride shining in her words.
In 2008, a new chapter unfolded when she received a life-changing invitation from Chinna Jeeyar Swamiji, the revered acharya of the Sri Vaishnava tradition and founder of the JET (Jeeyar Educational Trust). Swamiji entrusted her with the significant responsibility of teaching Bharatanatyam to tribal communities in Uttanur, Allam Palli and Katariwari Palem, places that have since become nationally renowned for cultural enrichment.
Balancing her role as an English lecturer at Vidyarthi Junior and Degree College in the mornings with Bharatanatyam instruction in the evenings, Madhavi’s perseverance became the cornerstone of her legacy. Her work with JET blossomed, culminating in a grand performance in 2008 alongside the legendary singer S.P. Balasubrahmanyam. “It was a moment of great validation,” she reflects, fondly recalling blessings from luminaries like Shailaja Amma and Balu.
Her success story is also one of partnership. Madhavi credits her husband, S.P. Ramanujachari—a writer, philosopher and retired assistant general manager of Grameena Bank—with being her unwavering support system. Together, they produced over 18 ballets, blending her choreography with his storytelling. “He’s not just my husband, but my friend, guide and philosopher,” she says with heartfelt conviction.
Her career has been marked by monumental achievements that have firmly established her in the annals of Bharatanatyam. Each was brought to life under the spiritual guidance of Chinna Jeeyar Swamiji, who provided the concepts inspired by Sri Ramanujacharya’s teachings. One production, however, stands out as her magnum opus.
In 2012, Madhavi presented Acharya Triumph, a ballet celebrating the life and philosophy of Sri Ramanujacharya. “It was my breaking point,” she recalls, remembering the grandeur of its debut on February 26, 2012. The event was graced by dignitaries, including ministers Sunita Lakshmi Reddy, Geeta Reddy and Savitha Reddy, as well as her revered guru and Dr. Alekhya Punjala, the current Chairman of the Sangeet Natak Akademi. The ballet left an indelible impression on Swamiji, who posed a life-altering challenge: “Why won’t you propagate the story of Ramanujacharya throughout the world for 120 performances?” With unwavering determination, she accepted the challenge. Madhavi performed Acharya Triumph in 13 countries and over 120 times, a feat that earned her recognition in the Asian Book of Records, Indian Book of Records and Telugu Book of Records.
“I became the only woman to perform a single ballet more than 120 times,” she shares, her voice resonating with both pride and humility. Yet, the role of Ramanujacharya was no ordinary portrayal. “It’s a very difficult character—it relies entirely on bhavam (expression),” she explains. Channelling the spiritual essence of the revered acharya, she infused every performance with soul-stirring emotions, making each one a profound experience for audiences worldwide.
Her journey into Bharatanatyam demanded not only artistic prowess but also extraordinary resilience. Her iconic portrayal of Ramanujacharya in Acharya Triumph became an immersive experience of abhinaya—the language of facial expressions. “It’s all about expressions, the soul of the performance,” she emphasises. However, embodying the character came with physical challenges.
To transform into the acharya, she wore a bald-cap prosthetic, which required adhesive that caused itching, allergies and even significant hair loss. Yet, these physical discomforts did not deter her. “I lost so much hair, but the joy of portraying Ramanujacharya was worth every struggle,” she shares. While Madhavi played the acharya, her students brought other characters to life, creating a deeply collaborative and spiritual storytelling experience.
Her work has earned her numerous accolades, including the Vishishtha Puraskar. “One of my proudest moments was performing in front of 16 Peethadhipathis. It’s the greatest honour of my life,” she reflects, attributing her success to divine blessings. She has performed at temples and holy sites across India, such as Tirumala, Shivangam, Perumbudur and Melkote, spreading the teachings of Ramanujacharya. She has also taken her cultural legacy to international stages in the US and UK.
Today, she runs her academy, Natya Acharya Nilayam, in Nagol, inaugurated by Shri Chinna Jeeyar Swamiji.“It’s not just about dance; it’s about imparting Sanskriti and culture to the next generation,” she says.
Her performance in the UK stands out as an unforgettable moment. She and her troupe of 42 artists showcased a vibrant array of Indian classical dance forms, including Bharatanatyam, Kathakali, Kuchipudi, Manipuri and Perini. “The standing ovation we received lasted more than two minutes,” she recalls with joy. “It brought me Ananda Bhashpa—tears of happiness. People were captivated by the story of Bhagavad Ramanujacharya, especially when they learned about the mantra ‘Om Namo Narayana.’ They were curious about the character and his teachings, and that engagement gave me immense fulfillment.” On the opposite end of the spectrum, her performance in the remote village of Venkatapuram, Srikakulam, also left a lasting impact. “The villagers, who lead very simple lives, many of whom were uneducated, were moved to tears by our performance. Despite their limited exposure to art, they connected deeply with the message of equality and upliftment that Ramanujacharya propagated.”
Her work is not confined to traditional venues—she has also branched into producing corporate ballets for the Times Group, as well as performances for charities like the Sudhira Trust. She continues to push boundaries, both creatively and spiritually, offering her audiences a rich, multifaceted experience of Bharatanatyam and culture.
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