Hridya Haridas’s Mohiniyattam performance highlights Tholpavakoothu’s beauty and tradition.
Mohiniyattam, once revived by Kerala Kalamandalam in the 1930s, largely revolved around themes of love in separation. However, the past few decades have witnessed an evolution in its thematic repertoire, embracing Kerala’s folk traditions, mythologies, and ancient cults. Among the notable figures backing this transformation is Mohiniyattam researcher and guru Nirmala Paniker. Through her choreographies, she has sought to reconnect the art form with Kerala’s rich heritage of female dance and abhinaya traditions.
A recent performance by her senior disciple, Hridya Haridas, at Natanakairali, Irinjalakuda, exemplified this approach. For the first time, Mohiniyattam was used to narrate the history and significance of Tholpavakoothu, Kerala’s ritualistic shadow puppetry. Traditionally performed in Bhadrakali temples, Tholpavakoothu, which originated in Tamil Nadu, enacts the Ramayana based on Kambar’s Tamil epic.
A journey through myth and devotion
Hridya’s performance was structured around the Saptam repertoire, including three pieces that wove together mythology, history, and folklore.
She commenced with Brahmari Devi, an invocation set in the Polika style. This piece narrated the legend of Arunasura, a demon who, emboldened by a boon from Lord Brahma, terrorised the three worlds. In response to prayers from the gods and mortals, Amma Bhagavathy transformed into Brahmari Devi—the goddess of bees—and vanquished the asura. The piece was set in a Ragamalika combining Aarabhi and Sudhadhanyasi, providing a dynamic yet devotional musical backdrop.
Hridya’s abhinaya was exceptional, particularly in depicting the stark contrast between the fear-stricken devotees and the enraged goddess. Her expressive eye movements and measured pauses before the goddess’s transformation heightened the dramatic intensity. The moment of divine appearance, symbolised through showered flowers, evoked an emotional response from the audience, many of whom were visibly moved.
The second piece, Amba, was drawn from the Mahabharata. It traced the tragic journey of the Kashi princess, who, once betrothed to King Salwa, was abducted by Bhishma for the Hastinapura throne. Rejected by her beloved and denied justice, Amba renounced worldly ties and sought divine intervention, ultimately being reborn as Shikhandi—the warrior who would bring about Bhishma’s downfall.
Hridya’s command over angasuddhi (body precision) was evident in the nritta sequences, where her small frame belied a commanding stage presence. In a particularly poignant moment, she enacted Amba’s preparation for her wedding and the transition from hope to despair, culminating in Amba’s self-immolation without vocal support—only accompanied by instrumental music which was rendered with remarkable sensitivity, capturing the raw agony of her fate.
A promising artist in the making
The evening’s highlight was Kurathy, an original composition choreographed by Nirmala Paniker. This piece introduced the audience to the figure of Kurathy, a tribal woman from Kerala’s highlands, who arrives in a village in Central Kerala and narrates stories of the region’s folk and ritual arts. The narrative intertwined mythology with the origins of Tholpavakoothu, explaining how the tradition was established to appease Bhagavathy, who had missed witnessing the battle between Rama and Ravana.
Hridya’s enactment of Kurathy’s astonishment upon encountering the village’s grand rituals, including Poothan Thira, Kuthirakali, and Kala Vela, was both humorous and insightful. The choreography seamlessly integrated these folk traditions, incorporating rhythmic chollus and percussion sequences evocative of Kerala’s temple festivals.
The energy of the performance, marked by vibrant expressions and fluid movements, kept the audience absorbed. The performance concluded with a traditional Tholpavakoothu performance by Sajeesh Pothuval and his team, with Sajeesh’s father Lakshmana Pothuval at the helm. This transition from dance to puppetry underscored the performance’s intent—to celebrate Kerala’s artistic confluence and uphold its legacy.
A performance of such depth would not have been successful without the synergy between the dancer and her accompanying artists. The nattuvangam was led by Sandra Pisharody, while Neelamperoor Sureshkumar provided vocal accompaniment. The melodic strains of Murali Krishnan’s veena and the powerful beats of Kalanilayam Sreejith’s maddalam complemented the mood of each composition. The lyrics were by Moorkanad Dineshan Warrier.
Hridya, a Doordarshan-graded artiste and a student of Nirmala Paniker for over fifteen years, is currently pursuing a master’s degree in Mohiniyattam at Sree Sankara University, Kalady. She has also earned a diploma from Natanakairali under the mentorship of Koodiyattam Guru G. Venu and Nirmala Paniker.
Photo and video credits: Sreenath Narayanan
 | ReplyForwardAdd reaction |
1 Comment
Excellent