One could, of course, argue that the presence of stalwarts like M Balamuralikrishna (vocal), K J Yesudas (vocal), Umayalapuram K. Sivaraman (Mridungam), and Mohiniattam dancer Bharati Shivaji were responsible for drawing crowds to the Dakshinayan venues.

However, what remains most sensual among these performances is Shivaji ‘s dance pieces.

Mohiniattam, which means dance of the enchantress, has evolved from a temple-based art to a classical art form which has now found an international platform. The art has even discovered modern dimensions in recent times. “The evolution of Mohiniattam into a modern dance for was started about almost seven years ago. Kamaladevi Chattopadhyaya, chairman of Sangeet Natak Academy, persuaded me to do my research in Mohiniattam and that led me to uncover new aspects of the dance,” says Shivaji.

The spirited dancer helped put the dance on the world map by taking her solo shows to several prestigious festivals. “I have performed in Edinburgh and at Incredible India Festival in Lincoln. We even incorporated the dance as part of the Bolshoi Ballet’s Swan Lake at St Petersburg. The secret is that you have to create the temple on the stage, that is what is important,” says the dancer.

Unlike Bharatnatyam, which is more vigorous and involves a robust performance, Mohiniattam is imbued by lasya or the feminine spirit that is the quintessential quality of the dance. More importance is given to the expression of the dancer’s eyes and the rhythmic swaying of the hips.

Shivaji’s pursuit of Mohiniattam also drew her to other regional art forms of Kerala. This enabled her to imbibe the aesthetics of Mohiniattam not in isolation but in significant relation to the interdisciplinary traditions of Kerala, be it theatre, music, sculpture, painting, architecture or literature.

“Performing Mohiniattam in Mumbai has a special significance since this city hardly witnesses this dance form being presented at a public venue like the Nehru Centre.”