An outstanding performer of Mohiniyattam Pallavi Krishnan has invented a style of her own, says UMA MAHESHWARI.

Mohiniyattam - the dance of the enchantress - has always had more takers from outside its birthplace, Kerala. Many like Kanak Ralae and Bharathi Sivaji have made it their mission to popularise Mohiniyattam. The latest addition to this exemplary cause is Pallavi Krishnan - a name which has become synonymous with Mohiniyattam.

The soft and gentle movements in Mohiniyattam are a particular fascination for her. “It has no sudden jerks or too much emphasis on thaala with the feet. On the contrary, it involves gestures of the eyes and hands, expressions of the face, voluptuous poses of the body and uncomplicated costumes,” says Pallavi.

Graduating in Bio-science, she joined Shantiniketan for a four-year dance course in Kathak and Manipuri, duly continuing her pursuits in Mohiniyattam and Bharatanatyam. The quest to specialise in Mohiniyattam brought Pallavi to Kerala in 1994.

Pallavi was awarded the scholarship of the Central Government for higher studies in Mohiniyattam. She also won the Central Government’s grant for choreographing Tagore’s Rituranga, a drama in Mohiniyattam, set to Rabindra Sangeeth. In 1992, she was awarded the Anupama Puraskar, instituted by Vichar Manch, Kolkata, for the exemplary talent in dance. An outstanding performer, guru and choreographer in the traditional style of Mohiniyattam, she combines both adavu and abhinaya most aesthetically and has imbibed a style of her own.

“Once I happened to see Bharathi Sivaji’s performance. Replete with aesthetics, the dance totally overpowered me. Each of her movements was carefully composed and it was an eye opener,” she says.

Pallavi is wedded to K K Gopalakrishnan and has established Lasya Academy of Mohiniyattam, based in Thrissur. She is currently associated with Kaavalam Narayana Paniker. “He is an ocean and I’m only a drop. You can listen to him for days together,” says Pallavi.

Pallavi’s latest work is called Salabhanjika, a sculpture in stone compared to Ahalya awaiting salvation. The theme is based on the in-depth relation between the sculpture and sculptor. The sculpture fell in love with its creator. Here the sculpture is compared with Ahalya and the sculptor with Lord Rama. While Salabhanjika dreams her other life with the sculptor, Ahalya seeks salvation.

It shows the dichotomy of man’s thinking. Pallavi is accompanied by her disciples and Suvasish Deth - the famous Bharatanatyam dancer. “In this dance-drama, the portrayal of the sculptor is thaanda-oriented and hence Bharatanatyam is incorporated,” says Pallavi.