Mythili Anoop's Mohiniyattam performance presents unexplored perspectives from mythology

Indian classical dance forms are truly unparalleled. Beyond the visual beauty of the nritta (pure dance) segments, their storytelling elements take audiences on a deeply emotional journey. These narratives not only foster empathy by allowing viewers to step into another's shoes, but also offer the dancer a powerful, cathartic experience. Through the portrayal of diverse characters, dancers often tap into different facets of their own personality, bringing the subconscious to the surface. While themes of joy, love, and devotion (shringara rasa) are commonly explored, negative or complex emotions tend to be overlooked. Challenging this norm, Mythili Maratt Anoop brings two lesser-seen mythological figures to the stage—Manthara from the Ramayana and the celestial nymph Urvashi—through the graceful language of Mohiniyattam.

Mythili explores complex mythological characters through the expressive depth of Mohiniyattam

The first production—featuring the character of Mantara—is an interpretation of lines written by Kathakali exponent Sadanam Balakrishnan. Being a character-driven performance, this part of the show is rich in natya and abhinaya (expressions and storytelling). This enables both the dancer and the audience to delve into the intricacies and layers of Mantara’s manipulative narrative. Her jealousy and cunningness lead to Kaikeyi’s demands, ultimately setting the events of the Ramayana into motion. “Although Mantara’s character is pivotal, it is rarely explored on stage,” Mythili says. To highlight this negativity, the dancer has also altered the raga of the Chollukettu (the opening piece in Mohiniyattam). “The Chollukettu is usually performed as an invocatory piece for the audience and the divine. To suit the character of Mantara, I changed the raga to create a more looming effect.”

While a dancer can experiment with compositions, plots, and even movement vocabulary, they cannot stray from posture.  For this character, however,Mythili had to transform her entire posture to embody a hunchback. “It is one of the biggest challenges, and I think I subconsciously chose it because it came with that challenge,” she says.

While this piece delves into darker rasas, the next one centres on kama and shringara (lust and love). Based on the writings of Rabindranath Tagore, it portrays Urvashi as a character independent of traditional roles imposed on women by society. “She is able to attract the minds of even the greatest yogis. In a way, she is a hurdle in their path to self-actualisation—by evoking emotions of lust; but at the same time, she also enables them to transcend those desires,” Mythili explains.

This piece is heavy on nritta, as Mythili steps away from lyrical storytelling and instead aims to convey character nuances purely through physical movement.

Shifting between characters in a split second and moving in and out of emotions at the drop of a hat often becomes second nature for the dancer. Mythili says that every human holds all these emotions within them, and to portray one, you must tap into that part of yourself. “I try to draw parallels between the character and myself to make it more realistic.”

As Mythili journeys through a wide emotional arc on stage—from manipulation to desire—her immaculate abhinaya and graceful movements make the performance an unmissable experience for the audience.

Free entry.

June 10, 7.30 pm.

At Lamakaan, Banjara Hills.

Email: ananyadeval.m@newindianexpress.com

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