When the dancer-choreographer Divya Nair speaks about his new work ‘Meenachi-The Devi rule’, it is less about reviving the mythology about recognizing the Goddess within us. September 21, at 6.30 pm, should be staged at Bharatiya Vidya Bhavan under the aegis of its dance institute ‘Dakshin’, it will be streamful on 22 September.
Set against Madurai’s cultural background, the performance explored the journey of Meenakshi as Princess, Boyfriend, Queen, Warrior and eventually the goddess. Compensation dance, music, poetry, and textile traditions, ‘Meenachi’ tries to capture not only a mythological story but the spirit of Tamil culture and heritage.
‘Meenachi’ tries to capture not only a mythological story but the spirit of Tamil culture and heritage.
Video Credit: Special Arrangement
“For me, a daughter, sister, mother, lover, even a warrior is the easiest to choreograph,” says Divya. “Because these are living experiences. I should have a warrior when I have something wrong or when loved ones need protection.
Divya Nair | Photo Credit: Special Arrangement
The production opens with a craving to a heir with a royal couple and a daughter is produced by a sacrifice of a sacrifice. This child, Meenakshi, grows as a remarkable woman, who is distinguished for her courage and compassion. Unlike most of the women of their time, who stepped outside their homes, they were raised as a warrior and commander, not a bride and led their people.
The main attraction of this work is its layered visual aesthetic, which is obtained through the cooperation that respect the fading textile traditions. Divya attracts her early training in Kalakshetra, where the fabric was internal to stack without clothes. “It is all about the beauty of clothes, whether it is a sari or PanchkachamIt was appropriate to partner with a group dedicated to reviving handloom, as their ethos lies deeply in the Tamil tradition. Their handlooms are not produced on a large scale, but are careful revived designs, causing the costumes of production to expand the story. ,
The production also attracts the expertise of hereditary manufacturers of temple jewelery at Nagerkoil. “The temple’s jewelery is an integral part of Bharatanatyam. But the craft is disappearing because the younger generation of these families does not see any future in it. This cooperation became a way to accept and spotlight that heritage,” she explains.
Production in collaboration with Tuhil reflects the beauty of a collective, unstable fabric dedicated to reviving handloom. , Photo Credit: Special Arrangement
If clothes and jewelery provide visual terminology, literature creates soul. Choreography is woven through the route inspired by choreography Thiruvilidal Puranam And Meenakshi Pillai TamilProfessor S. With compositions selected by Raghuraman.
For Divya, the most individual element in production is her love for stories. In ‘Meenachi’, the dance drama does not open up with a direct retailing of the life of the Devi, but moves to the Madurai temple with a person, where the idols begin to tell the story of Meenakshi. “If you have gone to the temple, you know that the idols are bigger than life, you can see the nerves on their feet, sorcery, expressions. I often thought: when the temple is closed and no one is around, do they come alive? This imagination became the heart of this production.”
Then, does he expect the audience to be taken home? “This story is eternal. Questions are often raised about whether Bharatanatyam requires modern, social subjects to remain relevant. But a timely story, music, clothes and dance have been told with beauty, can transfer anyone, whether Madurai or Manhattan. toy Story Or night at the MuseumWhere inanimate is alive through imagination. Classical art can also transport you, offer escape, and give you something permanent to withdraw, ”says Divya.
Published – September 17, 2025 02:35 pm IST