Vidya tells a story and has a few thoughts on caste and gender in the classical arts.

One day her father noticed her write namO namO rAghavAya anisham on the walls of her house and singing a lovely sindhubhairavi. He was happy and sad at the same time. He called his wife and said,”Look It is wonderful to see that our daughter is pious and religious.But music and dance are not for us, itis for the temple dancer and the devadasi community”. Saying thus he asked his elder son, Japyesa who readily nodded and said, ‘Yes father, she has a rama idol with her and that is all she plays with.This is abnormal for a girl.Let us get her married, we will talk to Pranatarthihara shastri and ask for the hand of his son.Soon a marriage was arranged and young Kamalamba got married. Her rama idol was lost when she moved to thevillage of her husband.Her household duties, familial obligations prevented her from composing and namO namO rAghavAya turned out to be her first and last composition.There were no Pancharatnas, no annual aradhanas.