From Tihar Jail Project To King's Honour: Dancer Arunima Kumar On Her Journey

Arunima Kumar recently became the first Kuchipudi dancer to receive the Honorary British Empire Medal (BEM) from King Charles III for her efforts to promote Indian classical dance abroad and her commitment to community service. She has spent more than three decades fostering cross-cultural ties through art, proving that classical dance can connect, heal, and empower. 

Arunima is the founder of the Amina Khayyam Dance Company, which has presented over 3,000 performances around the world.

She has taken Indian classical dance from prestigious venues like the Sydney Opera House, Buckingham Palace, and 10 Downing Street to unexpected spaces such as hospitals, care homes, and even prisons. 

Her philosophy is simple: Art should be shared, inclusive, and transformative. 

In an exclusive interview with SheThePeople, Arunima Kumar recounts her journey from a five-year-old discovering the joy of Kuchipudi to becoming a global advocate for classical dance. She speaks about what it means to take an ancient Indian tradition to a modern, changing society worldwide.

Arunima Kumar in conversation with SheThePeople

STP: You’ve been performing and teaching Kuchipudi for over three decades. What first drew you to this art form, and what has sustained your passion through the years?

It was unconditional love at first sight. I began learning Kuchipudi when I was about five, inspired by my mother, who chose the art form for me after seeing a performance.

What truly drew me in immediately was how my hands transformed into mudras, my body became graceful, and I could tell stories through dance, the costume, music, and rhythm. They made me feel so alive, even as a child. 

I still remember my first performance at the age of seven; when the lights came on, and all eyes were on me, I was transported into another world, and I knew this was where I belonged. Over the years, with the support of my gurus and family, art became my identity.

Even when I was studying at the London School of Economics or working in banking, it gave me exceptional confidence and balance to achieve anything, to connect with people not by title but by their humanity. 

I performed globally, and that deeply rooted the art in me, and taking it across countries only strengthened that bond.

I often remember what Pandit Birju Maharaj once told me: “Kala ko nahin chhodna, kala hi saath deti hai”—never abandon your art, because it will always stand by you. 

And that has been true for me. Through every joy and challenge, dance has been my best friend. It has sustained me because it is more than an art form—it is my constant, my way of expressing, healing, and simply being.

STP: What was the defining moment when you realised dance is more than just about performance, and that it can be a tool for empowerment and social change?

The value of seva or service has always been ingrained in me, inspired by my father, who served as Commissioner of Police in Delhi. A turning point came during Gala, a performance by French choreographer Jérôme Bel, where I was the only Indian classical dancer among a diverse group, including a dancer in a wheelchair and a cancer survivor.

Seeing their unique abilities challenged my assumptions and made me realise that dance is about inclusion, collective creativity, and empowerment.

Since then, I’ve taken Kuchipudi beyond the stage into hospitals, care homes, disability centres, prisons, and schools, using it as a tool for healing, joy, and social change. Dance, for me, is not just performance; it’s a way to enrich, transform, and inspire communities.

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STP:  The Tihar Jail initiative is groundbreaking. What was that experience like for you and for them?

The Tihar Jail initiative was one of the most profound experiences of my journey as a dancer and teacher. I first began working with women inmates over a decade ago, bringing dance into the women’s cells as a way to empower, heal, and build trust. Initially, many were hesitant; some even thought I was a journalist, but as we started moving to music together, they gradually opened up.

I discovered extraordinary talent among them, and more importantly, I witnessed how dance could give them joy, confidence, and a sense of dignity even in the most confined spaces.

Hearing their stories was eye-opening. Many of the inmates had faced extremely difficult circumstances; they weren’t inherently “bad” people, but had been forced into situations that required tough, often tragic choices. Understanding their humanity reshaped my perception of people and society.

Together, we created performances inspired by their lives, which were eventually staged at the Habitat Centre with support from the prison authorities. I vividly remember how they would dress up, put on makeup, wear flowers in their hair, and simply feel free, a freedom that transcended the walls that confined them.

Some stories were deeply moving, like that of a domestic violence survivor whose journey became the inspiration for my production Bandini. Experiences like these reinforced my belief that dance is not just performance; it is a tool for rehabilitation, empowerment, and social change.

The initiative taught me about resilience, the human spirit, and how creative expression can transform lives, foster inclusion, and inspire both the performers and the audience.

STP: From an artist's point of view, what are some challenges facing India's correctional systems today, and how can involving creative initiatives help the inmates?

One of the biggest challenges in India’s correctional system is perception; inmates are often seen only through the lens of their crimes, not as human beings with the capacity to heal and change.

Creative initiatives like dance, music, and theatre allow them to process guilt, pain, and trauma in non-prescriptive ways, opening their minds to empathy and self-reflection.

Such experiences restore dignity, remind them they are more than their mistakes, and give them the hope and strength to rebuild their lives.

If correctional systems adopt creativity as a tool of reform, we can foster true rehabilitation and reduce repeat offences.

STP: From the Rang Festival in London to 10 Downing Street, you’ve taken Kuchipudi to extraordinary spaces. How do global audiences connect with an art form so deeply rooted in Indian tradition?

Art has no language or boundaries—it connects to something innate in all of us. In India, we believe in Vasudhaiva Kutumbakam, that the world is one family, and I see that reflected every time I perform.

Whether it’s the Sydney Opera House, a small Indian village, or even 10 Downing Street, audiences may not understand every word or gesture, but they always understand the emotion—joy, devotion, longing, love.

That is the essence of Indian classical arts, as envisioned in the Natya Shastra: to create a spiritual connection with the audience.

For me, Kuchipudi has become a bridge between cultures. When performed with honesty and integrity, it transcends technique, costume, or language and simply celebrates our shared humanity through movement and storytelling.

STP: Can you share a glimpse of your recent India Habitat Centre performance and what it means for Indian traditional art forms?

The India Habitat Centre performance is one of my most ambitious projects—born from a student’s wish in London to one day perform in India.

Over the past year, we’ve created a three-stage journey: training in London, masterclasses with senior gurus, and now, immersive learning in India with legends like Padma Shri Geeta Chandran, Padma Shri Shobhana Narayan, and Guru Shashadhar Acharya.

On October 24, my students from the UK, India, and Poland came together to present traditional Kuchipudi. For me, it’s not just a performance; it’s the culmination of 30 years of my work in dance, 10 years of the Amina Khayyam Dance Company in the UK, and our inclusive practice that empowers people of all ages and backgrounds.

This evening is a celebration of heritage and humanity—showing how Indian classical arts can inspire, heal, and connect across borders while staying deeply rooted in tradition.

STP: Do you ever think of your legacy? As a teacher, mentor, and performer, what is the message you hope to leave with the next generation of women in the arts?

Yes, I do think about legacy. My journey has been about breaking barriers, learning a South Indian dance form as a North Indian, taking Kuchipudi to global stages no one had dreamt of, and opening doors that were often firmly shut for decades.

From performing at iconic venues like Buckingham Palace, 10 Downing Street, Westminster Abbey, the Olympics, and the European Parliament, to taking Kuchipudi into schools, care homes, and prisons — I’ve worked to show that tradition and empowerment go hand in hand.

For me, legacy lies in impact: the students I’ve trained, the spaces I’ve opened, and the stories I’ve told through dance. My message to the next generation, especially women in the arts, is simple: dance with love, integrity, and confidence and don’t take no for an answer.

Live with compassion and humility, believe in your art’s power to create change, and never let anyone define your limits. If my journey inspires even one young woman to find her voice through movement, then that is the legacy I hope to leave behind.