Pinnal: Divya Nayar’s contemporary Bharatanatyam recital weaves resilience and sisterhood

This weekend, the fifth edition of the Jharna Festival will see Bharatanatyam like you’ve never seen it before, telling a story through braids. Yes, dancer and choreographer Divya Nayar is all set to unveil her latest production, Pinnal: Tales of Sisterhood. In this work, Divya reimagines the braid as a potent metaphor for memory, strength, and sisterhood. Seven dancers will take to the stage, each representing one of seven feminine archetypes, exploring how individual journeys intertwine to create a shared expression of resilience and agency.

At Jharna Dance Festival, Pinnal redefines Bharatanatyam through feminine archetypes

So, what inspired her to create this unique piece of work? “Pinnal actually came about quite serendipitously. I was working with a young photographer, Rishi Raj, and we wanted to experiment with a different kind of photo shoot. The plan was to shoot at his home, so it was a small, intimate setup. All the dancers had their hair braided, but somehow we couldn’t arrive at something that excited either of us. We began wondering how we could bring these classically trained dancing bodies together in a more contemporary process. That’s when I noticed the braids. I suggested, almost casually, ‘Why don’t we take all these braids and wrap them around one dancer’s head, almost like a turban?’ From that one image, the possibilities suddenly felt endless. We kept playing with the idea because that single frame truly inspired us. That was essentially how Pinnal was born, from the idea of using the braid as something more than a decorative accessory. The idea sat with me for about six to eight months. I did nothing with it until an organisation called Abhi Vyakti put out a call for productions, and I submitted Pinnal.”

After that Divya threw herself into the project to make her vision come true. “Once you have an idea, it needs incubation, be it research, study and reflection. I spent time thinking about what story I wanted Pinnal to tell. The goddess kept returning to me, but I didn’t want to create something centred solely on the goddess, as that can easily become stereotypical and overly feminine. Instead, I began thinking about the braid as a symbol. It is often associated with beauty or Indian culture, but what if it meant more? A braid is strong; we braid rope and twine to make them sturdier. What if it symbolised resilience?”

This was also the time when Divya had taken the plunge into Devi Mahatmyam (a philosophical text) and was drawn to the concept of the Saptamatrikas (seven mothers representing the shaktis of seven deities). “Each goddess embodies distinct qualities, beyond the visual imagery of multiple arms and weapons. I began wondering whether other cultures or philosophies had similar archetypes. During my reading, I came across the idea of seven female archetypes, that each woman carries within her an innate tendency at different times, be it a mother, warrior, lover, seeker, rebel, poet or survivor. The parallels with the Saptamatrikas fascinated me. When I reflected on my own life, I realised I am never just one of these. At different stages, I have been one, or a combination, of many.I thought that would be an interesting idea to explore through dance. Then I wondered, “How would each archetype use the braid?” If she is a warrior, the braid becomes her weapon. For the poet, it becomes her metaphorical turban, a symbol of intellect and education, much like Bharatiyar’s call for women’s empowerment. For the seeker, it transforms into an ektara, like Meera Bai singing her devotional songs. For the survivor, it becomes a bandage. Thus, the pinnal functions as an active prop throughout the performance, celebrating these seven archetypes. In essence, that is what Pinnal is about.”

Though Pinnal premiered in Ahmedabad last September, as it was commissioned by Abhi Vyakti for the City Arts Project, this will be its first performance in Chennai. “I am looking forward to it, though I am slightly nervous. Chennai audiences are accustomed to seeing traditional performances from the Dakshina Repertory and me. This work is more contemporary. I have gently pushed and stretched my classical vocabulary, even experimenting with the soundscape. Some conversations naturally become global and contemporary without conscious effort. Yet the roots remain firmly grounded in the traditional language I have trained in. I am excited to see how Chennai responds.”

`500. February 22, 8 pm

At Bharata Kalanjali, Taramani.

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