Enchanting Mohiniattam by Dr. Sunanda Nair

- Maya Vinayan
e-mail: mayapp1972@gmail.com

November 7, 2025

Dr. Sunanda Nair, a prime disciple of the legendary Dr. Kanak Rele, founder of Nalanda Nritya Kala Mahavidyalaya, Mumbai, presented a Mohiniattam performance along with her US based students on November 1 at Teach auditorium, Chennai. Bharatakalanjali ambience was a perfect venue to enjoy such a chaste and tasteful classic performance. In the dexterous divine hands of Dr. Kanak Rele, Mohiniattam regained a new life and disciples like Sunanda (settled in the USA) continue holding on to the legacy of the Natyacharya, yet keeping the evolutionary enhancements giving a fresh flavour.

The repertoire presented filled the bill of a classic Mohiniattam presentation. The live musical ensemble adhering to the Sopana Sangeetam, added authenticity and aural pleasure. Without much preamble announcements the program straight away commenced with Ganapathi stuthi performed by the beautiful Panchakanyaa Mohinis with perfect coordination. Kudos to Sunanda for the meticulous training.

Sunanda Nair's group

Ganapati Talam is an intricate rhythmic structure dedicated to Lord Ganesha, the remover of obstacles and the harbinger of auspicious beginnings. Traditionally used in percussion and music compositions, it is rarely attempted in Mohiniattam. This choreography explores the interplay of rhythm and movement, merging devotion with mathematical precision. The circular flow of the talam reflects Ganesha's divine balance - strength with grace, power with serenity. It was choreographed by Sunanda Nair and performed by Uvika Aravind, Suja Pillai, Arathi Remesh, Swathy Mohan and Binduja Nair.

Next solo piece by Sunanda Nair, "Sriman Narayana" (Annamacharya Kriti) was a heartfelt offering to Lord Vishnu, the embodiment of compassion and preservation. This choreography explores his divine grace and ever-protective nature through the graceful vocabulary of Mohiniattam. A sanchari drawn from the story of Prahlada Charitam illustrates the Lord's unfailing presence in the lives of his devotees - appearing whenever righteousness is tested and faith is challenged. The piece celebrated the eternal truth that Sriman Narayaṇa is not distant, but ever-present - guiding, guarding, and uplifting those who call upon him with pure devotion. The mature expressions and the in-depth understanding of the subject instantly caught up with the audience, especially children attentively making notes in the front row.

Sunanda Nair
Photo: Haree Fotografie

Next came 'Krishna Kavyam,' a Ragamalika and Talamalika item written by the great Kerala poet Ollapamanna Subramanian Namboodripad. It describes the divine beauty of Lord Krishna, his body anointed with sandal paste, the vaijayanti mala around his neck. The melodious playing of the flute is compared to being as sweet as honey. The item was choreographed with soft, gentle and lilting movements to match the typical mood of Sopanam singing. Some rare talams or rhythm and vaitaris (the mnemonics) were also used to create an item of enchanting beauty.

Sunanda Nair
Photo: Haree Fotografie

Exploring an entry into the classic Tamizh ancient literature, an aham poem "Orumagal" (Saveri, misra chapu) depicted a delightful facet of her life which existed then and still exists today, that of a young lady eloping with the man of her choice against parental wish. In this piece, a mother laments, "I've but one child - my darling - who has eloped with that proud warrior who came from across the high mountains." When the neighbors obviously enjoying her discomfiture, advise her to be calm, she bursts out, "Oh! Wise people, my heart is scorched and you ask me to keep calm?" She remembers how she guided her little daughter's faltering steps, played games with her and when she grew up, combed her long tresses. Sunanda handled this elaborate exquisite number with aplomb using her histrionic talent almost matching her illustrious acharya Dr. Kanak Rele known for her instant communicative facial expressions.

Concluding this educative, elevating and entertaining evening, Sunanda Nair brought the house down with a rare episode from Srikrishnacharitam, 'Kubja - the hunchback'. Kerala flavoured or favoured raga Yadukulakambodhi and misra chapu talam were very appropriate, set in bhakti laden mode of rendering style of Kalamandalam Gireesan (vocal) that supported Sunanda Nair to emote sensitive abhinaya moving the rasikas to tears.

This item was woven around the famous episode of Kubja, the hunch-backed maid servant of Kamsa and a Krishna bhakta. Kubja is physically handicapped and it is her duty to make chandana paste and apply on the body of the evil king Kamsa of Mathura in his private chamber. Bent with the grueling burden of carrying heavy vessels to the palace, her lonely sad soul yearned for beauty, solace and love. She had heard of Krishna and his love and pleads with him to come and rescue her by removing the bondage of slavery from the evil Kamsa. Krishna comes to her and asks for only a little bit of chandana for tilaka. In return he breaks the chain of bondage and removes the lump on her back. Kubja's body and soul achieve beatitudes at the hands of the Lord. Kubja represents the soul of the Indian woman who has been oppressed for millennium by man.

The program concluded with a Mangalam. Accompanying artists were: Vocal - Kalamandalam Gireesan, mridangam - Prajesh C, nattuvangam - Hemanth Lakshman, violin - Kalairasan, flute - Bharat B. P Nandakumar on edakka should be complimented for his immaculate support making the evening a worth watching event.

Kalamandalam Maya Vinayan is a Mohiniaattam and Bharatanatyam artiste, teacher and choreographer. She runs her own natya institution Triveni Natya Academy in Chennai.