Namami Narayanam retells stories of Krishna through Mohiniyattam

In a performance that shimmered with a quiet elegance and spiritual resonance, Namami Narayanam, a Mohiniyattam dance production, choreographed by guru Shruthi Shoby, was presented at Mylapore Fine Arts Club, as part of the Abbas Cultural Dance Drama Festival. Performed by Shruthi and her disciples from Srishti School of Classical Dance, the thematic production unfolded five timeless stories, themed on Krishna.

The strength of this production lay, not in grandeur or opulence, but in its simplicity. The choreography used minimal props, allowing the audience to enjoy fluid movement vocabulary and nuanced abhinaya. that characterise this dance form. The seamless blend of classical compositions in Malayalam, heightened the emotional appeal.

Moniyattam performance, themed on Krishna, by the students of Srishti School of Classcial Dance.
| Photo Credit:
Special Arrangement

The evening opened with the tale of Dhruva, the boy who, abandoned by his father (King Uttanapada) and insulted by his stepmother (Suruchi), undertakes an intense penance to win the grace of Narayana. The portrayal of childlike longing, rejection and divine blessing was moving, with the dancer’s restrained expressions evoking Dhruva’s unwavering determination.  

This was followed by the poignant story of Ajamila, a fallen Brahmin, who, despite his moral decline, attains salvation through the inadvertent utterance of the lord’s name. The redemptive power of faith and surrender, highlighted during the performance, was a recurring theme throughout the evening.

The narrative deepened with the story of Pingala, a courtesan, who renounces worldly pleasures to pursue spiritual awakening. This segment was particularly impactful, as the lead dancer captured both the opulence of Pingala’s former life and the serenity that prevailed after her transformation.

Namami Narayanam, the Mohiniyattam performance by the students of Shruthi Shoby’s Srishti School of Classical Dance.
| Photo Credit:
Special Arrangement

A dramatic shift in tone came with the fourth story, that of Santana Gopalan, which usually refers to Krishna’s birth in challenging circumstances and his early life that was filled with challenges. It symbolises how the infant lord protects and helps one overcome struggles with ease. In this production, the dancer depicted the desperation of a Brahmin grieving over the loss of his children, Arjuna’s ego-driven vow and Krishna’s eventual intervention. The duet between Arjuna and Krishna, brought out with controlled intensity, was one of the high points of the evening.

The finale was a visual treat — Kalinga Narthana — where Krishna dances upon the serpent Kalinga’s hoods. This scene was executed with a balance of theatricality and technical finesse, as the dancer’s graceful footwork and expressive control brought alive the symbolic subjugation of the ego.

The performance was elevated by a well-coordinated team — choreography, concept and nattuvangam are by guru Shruthi Shoby, musicby Thrissur Krishnakumar, lyrics by Kalamandalam Ganeshan, background score and rhythm are by Nagarajan, vocals by Sudev Warrier, violin by Anand Lal and edakka by Thrissur Krishnakumar.

Minimalistic yet evocative, Namami Narayanam was a celebration of bhakti through dance and a reminder that grace often lies in restraint.