As Lord Vishnu transforms in order to entice a hoard of demons into giving up the nectar, and seduce Bhasmasura into cursing himself to ashes, a beauty, far beyond compare is born. One who has the grace of the swan, the voice of the nightingale, an exquisite siren who can make you forget who you are. From this ethereal idea stems the classical dance form of Mohiniyattam, “The dance of the enchantress”. I was about 10 years when ‘Chechi’ the housekeeper of our neighboring Malayalee family, came over and requested to watch something on TV (our home was one of the few with a TV back then). After some rapid fire Malayalam news, this airy being emerged on our little black and white set, and moved like ripples on a silent pond. I was hypnotized; "ee nruthathinte peru Mohiniyattam, Apsarasmarude nrutham!” she said.

I had not had the opportunity to see a complete Mohiniyattam repertoire until NEMA offered it to us. On Sunday May 18, 2014, Methil Devika performed this enchanting dance at the Chinmaya Mission auditorium in Andover. “Watching a Mohiniyattam performance requires patience” said the danseuse introducing the performance. But, to the true Rasika, the performance unfolded like a spectacular sunrise, slow and breathtaking. With bated breath I waited for the next petal to unfurl, the next pearl to shine.

Devika began her performance with traditional Cholukettu with a snippet from Soundarya Lahari. As Adi Shankara’s beautiful composition unfolded, Devika hands and eyes recreated Kailash and brought in waves of joy. Her footwork and hand gestures were precise, powerful and full of grace. She then went on to recount the birth of Sri Krishna, in a self composed version of the traditional Bramaniammapattu. Devaki’s labor pains and her joyful anticipation of Krishna’s birth, and the pride and sorrow in Vasudeva, was all shown with such control and restraint. As Devika seamlessly went between the various characters and emotions, it was like watching a butterfly emerge. Her hand gestures, like a lotus, unfurled and rearranged themselves so many times and in so many wondrous ways. From the nature that rejoiced at the imminent birth of the Lord, to the peacocks that danced in splendor, Devika portrayed the smallest change in the atmosphere on that fateful night, and sent those charged particles sailing through the auditorium into the audience. I could see Adi Sesha slithering to Vasudeva and expanding his hood in protection of the Supreme one. I could see the drops of rain fall and repel from the snakes glistening skin as the Lord, snug in his basket, made his way to Mathura!

Devika then went on to present the immortal tale of the anklet. The demure new bride, Kannagi becomes the proud husband Kovalan with only a slight change in stance, expression and gestures. With the same expertise, Devika goes on to portray the siren Madhavi and a besotted Kovalan. In that instance, I was unsure whether I should applaud the power of female persuasion or woe the weakness of male fidelity. Just as easily as Kannagi forgives Kovalan and gives him her anklet to sell, she consumes an entire city with her ire. Devika’s portrayal of Amman as she searches for solace and finds it near Kodungalloor, enshrined as Attukal Bhagavathy. Suffice to say that as Kannagi “plucked” her left breast to hurl at the city of Madurai, I gasped in pain and elation at her agony and victory! Devika was simply stunning as she told this tale of love, lust, greed and vengeance!

Very fittingly, Devika concluded the presentation with a bhajan, yet another Swathi Thirunal gem, Ramachandra Prabhu. The sun set on the performance just as spectacularly as it had risen. The audience sat in a hypnotic daze and the energy in the room could be cut though when each of us exhaled at the close of the dance.  Methil Devika has been described as “grace personified” and “art in motion”. Her grace and poise and her command over the art form is indeed commendable, but her connection to her audience is what sets her apart. She is able to glance straight into the rasikas heart, point her finger straight into your soul and with her lilting movements she carries us along on whatever fantasy she portrays. She is associated with the prestigious Kerala Kalamandalam, which has worked diligently to nurture classical and traditional arts of the south since the early 20th century. Devika has won the coveted Kerala Sangeetha Nataka Academy Award for Mohiniyattam and the newly instituted Ustad Bismillah Khan Yuva Award.  Artist par excellence and a humanitarian to boot, Devika is involved in an initiative to use arts as a therapy for various mental illnesses.

It is a treat to watch Devika and I hope we can see more of her in the Boston area.

Acknowledgements:     
Beena Francis for a Malayalam refresher and Manish Kurup for the pictures.

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