When dancer and choreographer Divya Nayar discusses her latest creation, ‘Meenātchi-The Goddess Reigns,’ her focus isn’t merely on retelling ancient myths, but on inspiring audiences to acknowledge the inner goddess. Presented by her dance institution ‘Dakshina,’ this profound production will premiere on September 21 at 6:30 p.m. at Bharatiya Vidya Bhavan, with a livestream available on September 22.
Set against the vibrant cultural tapestry of Madurai, the performance chronicles Meenakshi’s transformative journey from princess to lover, queen, warrior, and finally, goddess. ‘Meenātchi’ seamlessly blends intricate dance, evocative music, profound poetry, and rich textile traditions, aiming to encapsulate not just a mythological tale but the very essence of Tamil culture and heritage.
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Special arrangement
“The roles of a daughter, sister, mother, lover, and even a warrior are the most straightforward for me to choreograph,” Divya explains. “These are all experiences I’ve lived. I’ve had to be a warrior in my own life, in both personal and professional challenges, whenever something went awry or loved ones required protection. In this context, understanding Meenakshi as a daughter or a warrior feels more accessible than comprehending her as a goddess. Ultimately, the divine encompasses all these aspects.”
Dancer-choreographer Divya Nayar
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Special Arrangement
The narrative begins with a royal couple’s heartfelt yearning for a child, leading to the miraculous birth of a daughter from a sacred sacrificial fire. This child, named Meenakshi, blossoms into an extraordinary woman, celebrated for her immense courage and profound compassion. Uniquely for her era, she was nurtured not for marriage, but to become a formidable warrior and commander, destined to lead her people.
A standout feature of this production is its intricate visual artistry, made possible by collaborations that pay homage to vanishing textile traditions. Divya incorporates her foundational training at Kalakshetra, where the elegance of uncut fabric drapes was central to stage design. “It’s entirely about the inherent beauty of unstitched textiles, whether it’s a sari or a panchakacham,” she notes. “Our partnership with Tuhil, a collective dedicated to revitalizing handlooms, was a perfect fit, as their philosophy is deeply embedded in Tamil heritage. Their handwoven creations are not mass-produced but meticulously restored designs, ensuring the costumes become a true extension of the narrative.”
Furthermore, the production benefits from the expertise of Nagercoil’s hereditary artisans specializing in temple jewelry. “Temple jewelry is indispensable to Bharatanatyam,” Divya states, “but this exquisite craft is gradually fading because younger generations in these families often don’t perceive a viable future in it. This collaboration served as a crucial means to honor and highlight their invaluable legacy.”
This production, created in collaboration with Tuhil, a collective dedicated to revitalizing handloom weaving, beautifully showcases the timeless elegance of unstitched fabric.
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Special Arrangement
While textiles and jewelry craft the visual language, literature provides the very soul of the performance. The choreography masterfully incorporates passages drawn from the Thiruvilayadal Puranam and Meenakshi Pillai Tamil, with compositions thoughtfully selected by Professor S. Raghuraman.
For Divya, the most deeply personal aspect of this production is her enduring passion for storytelling. ‘Meenātchi’ uniquely begins not with a direct narration of the goddess’s life, but with an individual entering the Madurai temple, where the ancient sculptures magically awaken to tell Meenakshi’s tale. “If you’ve ever visited the temple, you’ll know the sculptures are incredibly lifelike—you can even discern the veins on their legs, their toenails, and their nuanced expressions,” she shares. “I often found myself wondering: when the temple closes and everyone leaves, do these sculptures come alive? That very imagination sparked the core concept of this production.”
So, what does Divya hope the audience will take away from this experience? “That the story itself is eternal,” she emphasizes. “While debates often arise about whether Bharatanatyam requires modern, socially relevant themes to stay current, a timeless narrative, beautifully expressed through music, textiles, and dance, has the power to resonate with anyone, from Madurai to Manhattan. It’s akin to ‘Toy Story’ or ‘Night at the Museum,’ where inanimate objects come alive through the magic of imagination. Classical arts, similarly, can transport you, offer a profound escape, and leave you with something truly lasting.”