<p>The Indian Council for Cultural Relations (ICCR) in collaboration with National Gallery of Modern Art (NGMA) presented a mohiniyattam dance recital by Ayswaria Wariar at the NGMA auditorium recently. <br /><br /></p>.<p>Ayswaria Wariar, the artistic director of Nrityodaya School for Classical Dance, Vadodara, gave a wonderful performance which was organised under the Horizon Series.<br /><br />“I started learning mohiniyattam at the age of 12. As my mother is also a classical dancer, she nurtured my inclination for the art form. Though mohiniyattam originated in Kerala, the art form is quite popular in Vadodara. <br /><br />I have a group of dedicated students who are ready to experiment with the theme. If you keep on updating the classical art forms with the new concepts and ideas, they will never die,” Ayswaria told Metrolife.<br /><br />The renowned dancer began her performance with Ganpathi Unarth. Choreographed by the artiste herself, the invocatory presentation depicted the almighty arising from water. It was set in ragamalika and chempada thaalam. The dancer established an immediate rapport with the audience with this inaugural piece.<br /><br /> Aesthetically dressed, the dancer portrayed Urmila as part of her second item. Written by Kavalam Narayana Pannicker and choreographed by herself, the padam depicted the saga of Urmila. <br /><br />She portrayed the feelings and pains of Lakshmana’s wife very effectively. Her abhinaya nuances were poignant when she depicted Urmila pining for Lakshmana who had gone into exile with Rama and Sita. <br /><br />Though Urmila wanted to accompany her husband, she stayed back in Ayodhya as per Lakshmana’s order. Urmila’s suffering in silence for fourteen years and her loneliness were brought forth very vibrantly.<br /><br /> Finally, the performance concluded with Urmila’s realisation. The item was set in raga Mayamalavagowlam and chempada thaalam.<br /><br />Her concluding piece was Kanakamayam Ayidum, a composition by Maharaja Swathitirunal, set in Ragamalika and Talamalika. The presentation described the procession of Lord Padmanabha on the third day of the utsavam. <br /><br />Ayswaria enacted the expressions of the celestial maidens admiring the grandeur of the procession. They wonder as to whose procession it is; whether it is of Lord Indra’s, the Moon, the Sun, Lord Shiva or Lord Kubera’s. Finally, they realise that it’s none other than Lord Padmanabha.<br /><br /> The artiste got much appreciation for evoking the elements of surprise, eagerness, appreciation and curiosity with much ease.<br /><br />Ayswaria Wariar was supported by Shiva Prasad on vocals, Narayanswamy on mridangam, Jayaram on flute and Sreejith on edikya.<br /></p>
<p>The Indian Council for Cultural Relations (ICCR) in collaboration with National Gallery of Modern Art (NGMA) presented a mohiniyattam dance recital by Ayswaria Wariar at the NGMA auditorium recently. <br /><br /></p>.<p>Ayswaria Wariar, the artistic director of Nrityodaya School for Classical Dance, Vadodara, gave a wonderful performance which was organised under the Horizon Series.<br /><br />“I started learning mohiniyattam at the age of 12. As my mother is also a classical dancer, she nurtured my inclination for the art form. Though mohiniyattam originated in Kerala, the art form is quite popular in Vadodara. <br /><br />I have a group of dedicated students who are ready to experiment with the theme. If you keep on updating the classical art forms with the new concepts and ideas, they will never die,” Ayswaria told Metrolife.<br /><br />The renowned dancer began her performance with Ganpathi Unarth. Choreographed by the artiste herself, the invocatory presentation depicted the almighty arising from water. It was set in ragamalika and chempada thaalam. The dancer established an immediate rapport with the audience with this inaugural piece.<br /><br /> Aesthetically dressed, the dancer portrayed Urmila as part of her second item. Written by Kavalam Narayana Pannicker and choreographed by herself, the padam depicted the saga of Urmila. <br /><br />She portrayed the feelings and pains of Lakshmana’s wife very effectively. Her abhinaya nuances were poignant when she depicted Urmila pining for Lakshmana who had gone into exile with Rama and Sita. <br /><br />Though Urmila wanted to accompany her husband, she stayed back in Ayodhya as per Lakshmana’s order. Urmila’s suffering in silence for fourteen years and her loneliness were brought forth very vibrantly.<br /><br /> Finally, the performance concluded with Urmila’s realisation. The item was set in raga Mayamalavagowlam and chempada thaalam.<br /><br />Her concluding piece was Kanakamayam Ayidum, a composition by Maharaja Swathitirunal, set in Ragamalika and Talamalika. The presentation described the procession of Lord Padmanabha on the third day of the utsavam. <br /><br />Ayswaria enacted the expressions of the celestial maidens admiring the grandeur of the procession. They wonder as to whose procession it is; whether it is of Lord Indra’s, the Moon, the Sun, Lord Shiva or Lord Kubera’s. Finally, they realise that it’s none other than Lord Padmanabha.<br /><br /> The artiste got much appreciation for evoking the elements of surprise, eagerness, appreciation and curiosity with much ease.<br /><br />Ayswaria Wariar was supported by Shiva Prasad on vocals, Narayanswamy on mridangam, Jayaram on flute and Sreejith on edikya.<br /></p>
