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 When movements think: The inner psychology of Vishnupriya Marar's recital- Akash Mallicke-mail: akashmallick699@gmail.com Photos courtesy: Rithesh November 26, 2025 What happens when classical technique, psychological depth, and ancient aesthetic principles converge in a single evening of dance? This question found its answer at the Double Bill Dance Recital held at the India International Centre (IIC), Delhi, where Kalamandalam Vishnupriya Marar presented a Mohiniyattam performance that was both meditative and profoundly aligned with the aesthetic and psychological frameworks of Bharata's Natyashastra. Currently pursuing higher studies and continuing her rigorous Mohiniyattam training under the guidance of the acclaimed exponent Dr. Neena Prasad, Vishnupriya offered a recital that seamlessly embodied the subtle charm of Kaiśikī Vṛtti, the transformative cycle of bhāva-vichāra-bhāva, and the quiet psychological resonance that connects performer and rasika.  The evening opened with a Cholkettu in Kedaragoula and adi tala, choreographed by Dr. Neena Prasad. Traditionally the first item in a Mohiniyattam repertoire, it served as an invocation to Lord Ganapathy - structuring rhythmic syllables into movement and awakening the emotional field of both performer and audience. Vishnupriya's gentle torso sways, rounded movements, and soft glances manifested the lasya quality that Kaiśikī Vṛtti demands. From the very beginning, there was a seamless alignment between her inner emotional preparedness and her outward expression, demonstrating the Natyashastra's principle that emotion arises first within the performer before being aesthetically communicated to the rasika. The central Varnam "Kāmita Vāradyaka," choreographed by Dr. Neena Prasad, became the psychological and aesthetic core of the performance. In this elaborate composition, Vishnupriya navigated between nritta, nritya, and abhinaya, moving through multiple emotional landscapes - Arjuna's tapas, Parvati's unwavering devotion, and Shiva's cosmic compassion during the Samudra Manthan. Her performance reflected the bhāva-vichāra-bhāva cycle in a deeply cultivated manner.  According to the Natyashastra, a performer must first experience an internal stimulus (bhāva), allow it to mature through contemplation (vichāra), and then let it re-emerge as a heightened, purified emotional state (bhāva) that can evoke rasa in the audience. Vishnupriya's portrayal of Parvati's steadfastness, especially in the ascetic episode, displayed the delicate internal churn required of Kaiśikī - where emotional intensity is expressed not through force but through subtle shifts of the eyes, controlled breath, and soft yet firm gestural precision. This psychological treatment extended to the rasikas as well. Her measured pacing, carefully modulated energy, and controlled abhinaya created a contemplative space for the audience to enter the universe of the narrative. Viewers were gently guided into śṛṅgāra, karuṇa, and bhakti - not as external spectacles but as internal experiences. The performance thus achieved the Natyashastra's aim of transforming the spectator's emotional state into rasa, a heightened aesthetic joy that is both cathartic and elevating. The concluding Tillana in Revathi and adi tala, dedicated to Goddess Mookambika, brought the performance to a rhythmic and uplifting finale. The pure dance sequences allowed Vishnupriya to demonstrate technical clarity while maintaining the lasya-filled softness central to Mohiniyattam. Overall, Kalamandalam Vishnupriya Marar's recital stood as a refined embodiment of Natyashastra's aesthetic and psychological principles. Through Kaiśikī Vṛtti, the bhāva-vichāra-bhāva process, and an inner discipline guided by her ongoing training under Dr. Neena Prasad, she offered a performance that touched both mind and heart - creating a profound experiential journey for every rasika present.  Akash Mallick is a Marga Natya practitioner, arts pedagogue, and IB Dance educator rooted in classical Indian performance traditions. A graduate with a master's in performance studies from the University of Hyderabad, his artistic journey weaves together scholarship and stage, guided by the Natyashastra and committed to reimagining traditional forms for contemporary audiences. |
