Ayswaria's Institute for Creative Expression
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Choreographies and Productions
Dr. Ayswaria Wariar’s creativity and professionalism is reflected in the fact the she has deepened and broadened the traditional repertoire of Mohiniyattam and Bharatanatyam by choreographing themes and compositions from our ancient mythology; many of these have not been attempted before.

She has approached every performance from the point of view of the audience; there fore she has introduced a more contemporary flavour to the traditional pieces that she presents; she has especially introduced an understated and yet powerful emphasis on rhythm; this has no doubt reverberated positively with audiences wherever she has performed.

She has also paid careful attention to music to ensure that the audience enjoys a more complete experience and takes utmost care that traditions and technical purity are furthered while adapting the art to the contemporary environment.
Bhoomiputri Sita
“She brings the flavour of Kerala in her dance with the Sopanam music, a predominantly off-white costume, a rich Manipravalam text and the slow-paced lyrical lasya abhinaya characteristic of the form that becomes an appropriate medium for the nayika of Bhoomiputri Seeta, also choreographed by her. Shiva Prasad's vocal recital in his compositions lends a strong support to Ayswaria's portrayal of Seeta and the values she represents. … Ravana bloated with his power and seeking indulgence in more desires is in combat metaphorically and in reality with the Uttama Nayaka Rama, a Sooryavanshi by descent and dheera-gambheera in his demeanour. Seeta repulses the devilish designs of Ravana. 'My mind and soul are with Lord Rama,' she tells the antagonist in no uncertain terms, 'and if you try to take my body, made up of panchamahabhoota, I will put an end to it.' The world with the evil in it is illusory and perishable, her character establishes, it is the divine that is constant. “
Dr S.D. Desai, 29th March, 2019 (Narthaki.com)
Bherkar Bherkar Jogmaya – Charni Sahitya
A Unique Amalgamation of Charani genre of Literature with Classical Dance, Classical Music, Theatre, Folk Dance and Folk Music, all augmented through Visuals. It was Conceptualized and Choreographed by Kalashree Dr. Ayswaria Wariar.
“Ayswaria, a dancer known for her taste, strikes a controlled balance between the classical and the folk, the rhythm and visuals, scenes depicting combats and of lyrical togetherness, the maidani singing and the Sopana style music, local colours and those of her native place, live performance and multi-media inputs. To make Shiva-Chaaran communication plausible, the choreographer creates on the screen the limitless universal perspective with images of the galaxy and nature. She seems to have paid attention to the minutest details of the production… A welcome exploration ...“
Dr. S.D. Desai, 2nd July, 2018 (Narthaki.com)
A solo dance presentation that is based on Mahakavi Kalidasa’s “Abhigyanashakuntalam”, that depicts the extremely beautiful character Shankuntala’s love, separation, intensity, her emotional dilemmas, her connect with mother nature and the pain that she experiences as a woman, all brought out through the gracefully styled classical dance of Mohiniyattam.
Ayswaria projects twin messages of Shankuntalam
Ayswaria Wariar, with the grace and lyricism characteristic of Mohiniyattam and of her as a performer, brings to the fore in her solo dance drama Shankuntala the twin messages of our life being integrally part of the rich natural environment and the potential power of a women as an individual. A modern empowered woman herself, combining dedication to a lifelong pursuit of art and capability of giving it an intellectual dimension, Ayswaria has adapted the structure of the play Abhigyana Shakuntalam to her dance form”
SD Desai, November 8,2012 (Nartaki.com)
This composition written by Shri.Kavalam Narayana Pannicker depicts the saga of Urmila, Lakshmana’s wife. Ayswaria portrays Urmila’s solitary life, her sacrifice and finally her realization which culminates in her attaining her divine status.
The expressions conveyed it all!
Aesthetically dressed the dancer portrayed the feelings and pains of Urmila very effectively. Her Abhinaya nuances were poignant when she depicted Urmila pining for Lakshmana”.
Deccan Herald, 2012
A Mohiniyattam dance ballet that aims to bring the beauty of Mahakavi Kalidasa’s poetry as well as paint a picture of panoramic description given in the Kavya.
Here certain movements and techniques of kalari payattu are also used as and when required. The dancers recreate images of clouds, fields, farmers, rivers, palaces, courtyards and all other imagery that are encountered in this pan Indian voyage.
“When poetry,drama and dance are in sync
Meghadootham,presented in the ‘Mohiniyattam style’, with occasional ‘Bharatnatyam and Kalari touches- a rare combination of poetry and drama, conceived and expressed with creative imagination at its best. Ayswaria’s poise, lithesome and graceful movements anchor the dance drama”
Times of India, 2008
Geeta Govindam
The Geeta Govindam known as Ashtapati in Kerala depict in highly poetic language the love play of Radha and Krishna which is apt for dancing lasyam. It is that mood of the underlying Sringara Rasa which gives rise to the lasya bhava in nritta as well as Abhinaya which is apt for bringing out the true essence of Mohinattam. Smt. Dr. Ayswaria Wariar has worked to put together a dance presentation that brings out fully the beauty of Geeta Govindam. The ballet is interspersed with pure dance movements performed to swara passages and rhythmic pieces.
Maya Mohanam
Ayswaria Wariar through her choreography paints the beautiful picture depicting Lord Krishna in various colours and shades. The poet Sri. Kavalam Narayana Panicker portrays the various rupas of Maha Vishnu. If at times Shri Krishna is Radha’s lover, he is also the fearsome Narasimha protecting Prahlada from Hiranyakasyapu. He is the one who protects Draupathi as well as inspires Arjuna to fight the battle of Mahabharata and also gives moksha to Gajendra.

“Ayswaria Wariar’s Mohiniyattam was full of languid movements as she worshipped Ganesha. She achieved a maturity of laya and expression as she enumerated numerous forms of Krishna.”
Times of India, 2011
Gopalaka Pahimam
Gopalaka Pahimam, is a dance ballet based on the life of Lord Krishna, choreographed in the two classical styles of Bharatanatyam and Mohiniyattam, The ballet depicts the life of lord Krishna through the 5 stree kathapatras who have been close to him. They have been helped by the Lord at various points in their life. Lord Krishna’s life’s story whenever and however retold is always colourful and one filled with varied emotions that are ideal for depicting through dance dramas. This epic can be related to various levels, the historic, mundane, spiritual, and the metaphysical!
Shakthi is the dance of Prakruthi. Everything originates from Prakruti , from energy. Devi is the cause of this energy. She is Shakti which means power. Often referred to as the feminine aspect of Shiva who is the static. Shakti is the kinetic force. It is this kinetic force or movement that is interpreted here through dance. This ballet is in praise of the divine energy, Shakti. Based on Adi Shankaracharya’s Soundaryalahiri, this is a group production in Mohiniyattam. Here Ayswaria combines highly evocative Ahinaya combined with pure nritta culminating in a rhythmic crescendo! Through this ballet the artist here aims to be drench the rasikas forever by this “Wave of Beauty and Bliss”
Matha Gange Pranamamyaham
A mother's reflection....

“My divine origin….from the heavens to the plains; I mingle with humankind, get soiled and yet forgive …and then I merge with the Lord….”

A solo dance ballet in Mohiniyattam, Here the river Ganga is visualised as a mother and the dancer narrates the rivers story from past to present, as a mother’s reflection.
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