Mudras & more

Gurnaaz Kaur

She has been instrumental in spreading awareness about Mohiniyattam outside the geographical boundaries of Kerala and into the wide world. 

Ayswaria Wariar, a Mohiniyattam exponent, believes in connecting people with Indian culture and ethos through her performances, lectures and writings. She has a dance institute in Baroda, where she lives now. 

She has come a long way in her endeavour to popularise the classical dance form of Kerala, whose roots, like all classical Indian dances, are in Natya Shastra, and she credits it to her mother. 

“I come from a family of artistes. My mother initiated me into the dance form at the age of five. Subsequently, I’ve had the chance to be trained in Bharatnatyam and Mohiniyattam under eminent gurus such as Dr Sucheta Bhide Chapekar, Udyogamandal Vikraman and Kalamandalam Saraswathi. Then I undertook an advanced training in abhinaya from senior instructor of Nangiarkoothu Margi Usha. I also obtained guidance in Sopana Sangeetham under Padmabhushan Shri Kavalam Narayana Pannickar. These names are important for me since they have enriched my journey.”

After having spent almost all her life in refining and defining this traditional dance form, Ayswaria takes pride in the fact that she has deepened and broadened the traditional repertoire of Mohiniyattam. 

“I have choreographed themes and compositions from our ancient mythology, many of which have not been attempted before. They have been well-received by the audience and that is no less than an award for me,” she shares. 

In Chandigarh for SPICMACAY’s endeavour to educate school students about various classical dance forms, this dancer says audience is her prime focus, or as much as the dance form is. 

“A performance is a good performance if the viewers are able to connect with it. Therefore, I approach every performance from their point of view. Sometimes, I introduce a contemporary flavour to the traditional pieces. Another very important aspect of my performances is rhythm. That cannot go wrong, I feel.” 

While she has been teaching Mohiniyattam for 13 years, Ayswaria feels there are not many opportunities for new and budding artistes. “Indian dance and music is an integral part of our culture but there aren’t many opportunities for those who want to sustain a livelihood through it. I feel there is a lot that needs to be done. Right now, the performances are restricted to the few festivals that are organised by the state or tourism ministry or temples; corporate houses, clubs, private organisations should also incorporate classical performances in their celebrations.”

This proponent of classical art and music says support is required for artistes who are serious practitioners. “A lot of hard work is going on but to market anything there is a need for a film star. Be music or dance, it’s largely about films. When our traditions and art forms get so much appreciation from other countries, I think the population that promotes it in our country should be even more.”

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