A Mesmerizing Mohiniyattam Performance

Anju Peter’s lyrical Mohiniyattam performance weaves ancient traditions with divine feminine energy at Bengaluru’s Margazhi festival.

In classical dance, every glance and gesture tells a story. Mohiniyattam practitioner Anju Peter’s recent performance at Koramangala, Bengaluru, as part of the Margazhi festival, organized by Bangalore-based cultural organization Medai, celebrated Kerala’s cultural heritage with elegance and depth. Anju, a Doordarshan-graded artist and a student of Mohiniyattam guru Nirmala Paniker, presented three carefully curated pieces, each showcasing the intricate interplay of movement, expression, and narrative that defines Mohiniyattam. Her performance revealed the innate beauty and emotional depth of this traditional art form.

The evening began with “Poli,” a desi item in Mohiniyattam, with a poignant depiction of the sacred grove, or Kaavu, and the divine presence of goddess Bhagavathy. Anju’s portrayal of the divine feminine was both powerful and evocative, connecting deeply with Kerala’s matriarchal Tharavaadu traditions. The rhythmic pulse of the Bhagavathy’s thala echoed through the auditorium, creating an atmosphere of reverence. Anju’s intricate footwork and flowing movements brought the sacred grove to life, while her expressive eyes and delicate mudras conveyed the grove’s secrets — divine energy intertwined with nature’s shadows and echoes. This piece encapsulated the spiritual essence of Mohiniyattam, offering a moving tribute to womanhood, nature, and devotion.

The second piece, “Chandanam,” shifted to a folktale and went beyond classified expressions in dance. Anju depicted a sandalwood seller, weaving a narrative rich in mythological significance. Sandalwood, revered for its restorative qualities, became a metaphor for resilience and grace. Anju’s portrayal mixed everyday life with celestial symbolism, illustrating how the mundane can reflect the divine. The depiction of Goddess Parvati’s roudrabhaavam was particularly striking, balancing rage and compassion with remarkable finesse. Each mudra and gesture spoke volumes, leaving the audience captivated.

The final piece, “Karukare Kaarmukil,” written by Kaavalam Narayana Panicker, celebrated Kerala’s monsoon. Anju’s performance vividly evoked the sights and sounds of the season, from the majesty of elephants to the grace of peacocks dancing in the rain. The beat of the Chenda and the rhythms of Kaikottikali and snake boat races infused the performance with energy. Anju’s petite feet mirrored the raindrops, her hands traced patterns of swaying trees, and her eyes conveyed the monsoon’s exuberance. The perfect mix of nrittham and nrithya brought the piece to life. The dancer’s connection with the music and her fluid transitions between pieces created a cohesive and immersive experience.

Anju’s performance was supported on vocal by Neelamperur Suresh, Kalanilayam Prakashan on Maddalam , Murali Krishnan in Veena and Kalanilayam Ramakrishnan on Idakka