In Brisbane, Australia, Bindu Rajendren’s Mohiniyattam Soiree celebrated the rich cultural roots of Kerala’s classical dance, paying homage to her guru’s revival of indigenous traditions through compelling choreography.
In the early 1930s, when Vallathol Narayana Menon took on the challenge of reviving Mohiniyattam, the lasya art form of Kerala that was on the verge of disappearing due to social stigma, finding a teacher to instruct this form at Kerala Kalamandalam was no small feat. To uplift the dance’s reputation, certain folk-based pieces like Kurathi, Mukkuthi, Poli, Esal, and Chandanam were set aside, aiming to elevate Mohiniyattam to a refined classical level. Nearly 90 years later, Mohiniyattam is flourishing, performed by many artists worldwide. Recently, in Australia’s Brisbane’s Urban Jungle Studio, Mohiniyattam dancer Bindu Rajendren brought this art to life in a performance titled Mohiniyattam Soiree, a tribute to her mentor, Guru Nirmala Panicker. Panicker’s work in reviving Kerala’s native dance traditions formed the foundation of this event, which presented her desi choreographies, celebrating Mohiniyattam’s deep-rooted connection to Kerala’s indigenous culture.
The concert commenced with a Mohiniyattam adaptation of a traditional Tyani of Sopana Sangeetham performed by Bindu’s student, Vidya Rajeev. This invocation in praise of Lord Ganapathi set a serene and anticipatory tone, welcoming the audience into an evening that promised storytelling through dance.
Desi choreographies
Bindu’s entrance announced the first major piece of the night, Poli, an invocative dance dedicated to Bhagavati, the revered mother goddess of Kerala. This composition was rooted in historical and cultural resonance, tracing back to pre-Vedic traditions of goddess worship. Bindu’s performance exuded Netrabhinaya (eye expression), integral to Nirmala Panicker’s style. Her depictions of Bhagavati as Parvati, the fierce Rudra, and the fearsome Kali were commendable, vividly illustrating the goddess’s omnipotent nature that spans earth, heaven, and the underworld.
The second piece, Chandanam, introduced a change in narrative anchoring the indigenous character of the repertoire. In this dance, Bindu portrayed a street vendor peddling sandalwood paste that has mystical healing properties. The piece unfolded into the tale of Shiva consuming venom during the churning of the ocean (Palazhi Madhana), with Parvati applying sandalwood paste obtained from Lord Vishnu’s chest paste to revive him. Bindu’s portrayal of Shiva as Neelakanta, with poison lodged in his throat and Parvati’s compassionate intervention, was a moment of awe, exemplifying her skill in Abhinaya.
Stories in motion
Kurathi followed, showcasing a tribal soothsayer recounting the divine birth of Lord Ayyappa, born of Shiva and Vishnu’s incarnation as Mohini. The tale, culminating in a depiction of the Sabarimala shrine and the devotees’ profound Darsana experience, highlighted her Bindu’s ability to blend narrative with subtle, emotive expression. This choreography resonated with the audience, reflecting Bindu’s maturity in conveying layered storytelling.
The performance concluded with Mukuthi, a piece that demanded greater interpretative depth. Here, Bindu embodied a woman in search of her lost diamond nose ring, a metaphor for the soul’s quest for spiritual fulfillment. This more abstract narrative required balance of both technique and inspiration, and showcased Bindu’s ability to internalize the spiritual theme.
The evening ended on a harmonious note with a brief Mangalam, bringing a sense of closure and reverence. The interaction that followed offered a delightful moment when a young boy’s question about Shiva’s act of consuming venom demonstrated the performance’s impact on even young attendees. Bindu’s articulate explanations and contextual introductions before each dance greatly enriched the audience’s understanding and appreciation.
Bindu Rajendren’s dedication to preserving and interpreting her guru’s vision shone throughout Mohiniyattam Soiree. By navigating the historical evolution from mother goddess worship, through Shaivite and Vaishnavite traditions, to the ultimate pursuit of spiritual realization, the repertoire offered a profound and immersive introduction to Mohiniyattam’s storytelling power. The performance was a testament not only to her artistic expertise but to her deep respect for the cultural roots of this classical dance form.
