It's sad alluding to lifetime of work as old history'

This is addressed to Smt. Leela Venkatraman in reply to her article published in The Asian Age, on April 5, 2017, titled ‘Myriad Mohiniattam Manifestations’.

I would like to put the following in correct perspective: While I thank you for your compliment, a dancer’s involvement with the journey of her art over the years transcends the factor of mere stage presence.

I fail to understand your alluding to my body and lifetime of work as ‘old history’. The ‘old history’ that you refer to is my personal experience which I was called to present and which has led to other manifestations of Mohiniattam and I am happy about that. It was only an excerpt of Jeeva that was presented that day due to us honestly following the time allotted.

Mindful of other participants, we chose not to usurp time beyond that which was specified for all. You seem to have missed the announcement and view it in that context.

The indigenous musical tradition of Kerala namely Sopana music was never imposed on the present practice of Mohiniattam and its practitioners. It is incorrect to infer that Kavalam Sir ‘vetoed Carnatic music’.

His belief of the need to introduce sopana music in our repertoire, along with other indigenous traditions, should not be interpreted thus. An irrefutable authority that he was, he was focussing on building on a strong identity for Mohinattam in every aspect.

Coming to your mention of my need to legitimise my Kerala credentials, it is amusing to point out that while I have moved on, some petty fixation seems to linger with the ‘outsider’ classification.

 In that respect, I am as much an outsider as you are and my involvement with Mohiniattam still continues as the world can see.

Today the nation is battling to reject and rise above the rigid and narrow outlook of regionalism, so this point of insider/outsider should cease to be of any significance at all, especially, since art transcends boundaries to produce greater harmony.

In the context of my talk it was important for me to acknowledge all who have been part of my journey and coincidentally most happen to be from Kerala. When I was assigned to work with Kavalam Sir by Kamaladevi Chattopadhyaya , he could have been from any part of the world. The important point to focus on is that this collaboration yielded a beautiful and fresh perspective to Mohiniattam. As to why a visionary and revolutionary of the stature of Kamaladevi Chattopadhyaya chose Kavalam Narayanan Panikker Sir as my guide, I leave for you to delve.

Over all, I cannot but feel a sense of bias and a duality of approach in selectively recognising the myriad manifestations of Mohiniattam, but as always, my journey continues with the same love and fervour towards the divine style of Mohiniattam. The art is greater than its practitioners.

Bharati Shivaji, Padma Shri Mohiniattam guru and exponent