Chandigarh, March 3
Her eyes talked in the language of rhythm as she performed the dance of the enchantress this evening. Weaving a tale of grace and sensuality on the performance space of Tagore Theatre, Vijay Lakshmi today reminded the audience of her mother and guru, Bharati Shivaji, who shares the unique credit of popularising mohiniattam, the traditional dance of Kerala.

In fact, Chandigarh's first tryst with mohiniattam happened on October 11 last year when Bharati Shivaji teamed up with her disciples to present a graceful fusion under the Jhankar series organised by the UT Administration at Shantikunj. Vijay Lakshmi had accompanied her guru then.

This was her second public appearance in the city, and this time on an invitation from the Kerala Sastra Kala Manch. The occasion was the 12th Kerala annual day celebrations. Adorning a seductress's look, Vijay Lakshmi today reflected poise and refinement, basic to her guru. As she swayed her torso in keeping with the dance form which is essentially about feminine grace and subtlety, the magnificent landscape of Kerala unfolded before the eyes — massive tress swinging along the coasts of Kerala, fresh breeze kissing the wet palm fronds and inspiring them into movements governed by soothing melodies....

The disciple began with Ganapathi stuti in raga arabi set to aditala. Invoking blessings of Lord Ganesha, Vijay Lakshmi, the enchantress, set the pace for Kerala's medieval dance tradition, which is strongly rooted in tradition. The dance is about Lord Vishnu assuming the form of a woman to purge the earth of evil. In his incarnation as the woman, Vishnu performs the mohiniattam (dance of the enchantress) to entice evil, vanquish it and finally uphold dharma...

The second presentation of the evening came in the form of mukhachalam, the pure dance, which reflects basic elements of mohiniattam — abhinaya and shingara. The significance of abhinaya emerges from the fact that like a kudiyattam to kathakali, mohiniattam is also dramatic. Shingara is born of the fact that the dance is essentially a feminine affair. Hence soft, subtle movements which Vijay Lakshmi portrayed today furthered the elements of mohiniattam. One movement merged into another leaving no room for abrupt endings. The mukhachalam revelled in rhythmic patterns and dance techniques, as showcased by Vijay Lakshmi. She also captured sculptural significance of mohiniattam.

Through her presentations, Vijay Lakshmi made a systematic statement of mohiniattam. It is important to mention here that her mother and guru Bharati Shivaji has researched literary, musical and sculptural scores of the dance form and has tried to systemise it. She has also laced the form with freshness of techniques, apart from being the only dancer to incorporate Geet Govinda's ashtapadis of the Sopana tradition into mohiniattam. Her disciple today concluded the presentation with an ashtapadi which talked of the grace embodied by the dancing Lord Krishna.

From mohiniattam to kathakali, the spirit of Kerala tradition was kept alive on stage. Another theatre tradition performed in temples, kathakali followed mohiniattam. Presented by the International Centre for Kathakali, New Delhi, the story was titled Daksha Yagam by Iraimman Tampi.

The dance sequence was based on the mythological narrative in which Daksha, the son of Lord Brahma, organises a yajna. Except Shiva, he invites all the other Gods to the yajna.

In scene 1 Sati seeks Shiva's permission to attend the yajna hosted by Daksha. Shiva warns her stating that she would be insulted by Daksha, but she proceeds alone. As warned by Shiva, Sati is insulted by Daksha. Daksha also abuses Shiva. Sati returns to tell Shiva of her insult and beckons him to destroy Daksha. Shiva summons Veerbhadra and Bhadrakali, who destroy Daksha's yajna and kill him. On the request of Devdas Shiva offers life to Daksha, who then asks for the Lord's forgiveness. The dance is completed in six scenes.