It was a moment of both anticipation and excitement when I received my posting orders as the Resident Commissioner of Maharashtra in Delhi. Beyond the administrative responsibilities, I was eager to experience the city’s rich cultural life—its vibrant music, dance , theatre, art scene, historic monuments and intellectual discourses.
Just as I was imagining the possibilities, I received a call from Deepti Nambiar. Her niece, Mridula Nambiar was set to present a Bharatanatyam performance on the character of Kaikeyi at the India Habitat Centre on March 3, 2025. Without hesitation, I accepted the invitation, intrigued by the thought of witnessing a classical dance portrayal of one of mythology’s most misunderstood persona.
Kaikeyi, in the Ramayan, has always been painted as a villain—the queen responsible for Rama’s exile. However, little has been explored about her inner turmoil, her role as a mother, and the betrayal by her brother which she faced helplesly. Mridula’s performance, titled "Kaikeyi: The Forsaken One," sought to challenge these long-held perceptions.
Through the grace of Bharatanatyam, the narrative traced Kaikeyi’s journey—from a spirited princess to a fierce warrior, from a beloved queen to an ostracized mother. The dance brought forth emotions often ignored, her pain, her love for her son, the special love she had for Ram who was her favourite, and her regret. Was she truly selfish, or was she simply a mother fighting for her child in a world that favoured one over the other?
From her very first dance steps, Mridula captivated the audience. Her expressions—bhavas—breathed life into Kaikeyi. The transitions in her dance captured the grace of a princess, the power of a warrior, the cunning of Manthara, and the agony of a mother torn apart from her son. Each movement conveyed the depth of Kaikeyi’s emotions—her ambitions, her choices, and the weight of her actions.
A particularly haunting moment was when Kaikeyi, through abhinaya (expressive storytelling), questioned:
"A mother’s love should be equal, but what happens when a father chooses only one?"
In another poignant scene, she lamented:
"Doomed to be lost in the shadows of history… was I wrong as a mother?"
These words echoed through the auditorium, leaving the audience in reflective silence.
"Kaikeyi: The Forsaken One" was more than just a Bharatanatyam recital; it was a narrative re-evaluation. It urged the audience to look beyond the traditional black-and-white portrayal of characters and embrace the shades of grey that define human emotions.
Mridula’s interpretation of Kaikeyi was neither a justification nor a condemnation—it was an invitation to understand.
Beyond doubts the performance was a testament to the power of classical dance as a medium of storytelling. It was a reminder that history is often written by victors, but art has the ability to give voice to those lost in its margins.
As the final sounds of the music faded into silence and Mridula took her bow, the standing ovation she received was not just for her impeccable dance but for her courage to tell a story often left untold.
Beyond doubts the performance was a testament to the power of classical dance as a medium of storytelling. It was a reminder that history is often written by victors, but art has the ability to give voice to those lost in its margins.
As the final sounds of the music faded into silence and Mridula took her bow, the standing ovation she received was not just for her impeccable dance but for her courage to tell a story often left untold.
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