Mudra is a symbolic gesture which is effectively influencing our body and mind. Each mudra ultimately creates a special connection to the cosmic consciousness. Mudras are used throughout the world for prayers, dances etc.

Kalamandalam Radhika specialized in mohiniattam having studied under the all time Great Gurus like Late Chinnammu amma and Kalamandalam Sathyabhama. Radhika’s forte is not confined to dancing alone. She has done extensive research for nine years on Mihiniattam. She is the pioneer to perform Mohiniattam in all languages. The press aptly calls her ‘The Ambassador of Mohiniattam.’ Radhika who has done her doctorate form Trinity College in Mohiniattam has written numerous articles on Mahiniattam for the dance and music magazine Shrutilaya besides having submitted a paper on Mohiniattam for the subject ‘Dance education in scholls’ at the seminar organized by the NCERT. Her article on Dance and God Realization has been put on the net by the University of Wales. She has also written for the weekly ‘INDU’ published from Houston USA, an article about the Devadasi system of Lerala. Using the beautiful medium of Mohiniattam she has immortalized the poetical works of Kuvempu, Amruth Someshwar, Veerappa Moily, Fr. Abel and St. Chavara. Kalamandalam Radhika has taken Art as her life’s mission. Apart from propagating and promoting Mohiniattam, she has formed a trust called the Nrithya Dhara charitable trust, wihich she hopes becomes a Nithya Dhara Trust. The money she generates through her performances and workshops benefits aged indigent artists. Every year she helps to alienate the tears and hunger of a few long forgotten artists. This is her mission and the setting up an old age home for these artists is her goal. Nrithyadhara is a registered charitable trust formed with a view of helping aged indigent artists. Shri. M. P. Veerendrakumar chairs this trust. Sr. kalamandalam Radhika is the Managing Trustee. Sri. Joy chemmachal, Fr. Dr. James Aerthayil and Fr. John Lallarackal are the other trustees.

This work on mudras reminds me of a little-known tale behind a celebrated masterpiece-Albrecht Durer’s grey and white brush drawing on blue-grounded paper, which he titled ‘Hands’ generally known as ‘The Praying Hands.’

He was the eldest son among eighteen children of an impoverished goldsmith in 15th century Nuremberg. Despite their indigence, two of Albrecht Durer the Elders children nursed a burning ambition to pursue their artist talent. The two boys finally decided to toss for who would go for apprenticeship with a renowned artist, the loser having to finance the study by working in the nearby mines. Then after four years, the victor would support the other brother in his pursuit of arts. Albrecht won the toss and Albert went down into the dangerous mines and, for the next four years, financed his brother whose work at the academy created almost an immediate sensation. When Albrecht, returned to his village, the family held a festive dinner to celebrate his triumphant homecoming. At the end of the revelry Albrecht rose to raise a toast to his brother for the years of sacrifice that had enabled Albrecht to fulfill his ambition: “And now, Albert, blessed brother of mine, now it is your turn. Now you can go to Nuremberg to pursue your dream, and I will take care of you.”

At the far end of the table Albert exploded into tears shaking his lowered head muttering, “No....no. ...no... .no.” Then to an astounded audience he revealed his agony. The bones in every finger had been smashed at least once, and he had contracted arthritis that he could not even hold a glass to return the toast, far less make gossamer lines on parchment or canvas with a pen or a brush. In homage to Albert for his excruciating sacrifice, Albrecht painstakingly drew his brother’s abused hands with palms together and emaciated fingers appealing skyward, in the ultimate mudra of supplication!

Then there is the reverse instance of the hand facing downward in the mudra of giving, practiced by Rahim, son of Bairam Khan, composer of dohas and a Navaratna in Akbar’s court. While giving alms to the poor, he never looked at the person he was giving, keeping his gaze downwards in all humility. His explanation was that the actual giver was the Creator, hence hands were pointed down and the eyes lowered!

Between these two extremes, hands which fashion the entire filigreed web of emotions through mudras, are captured in her scholarly manner by Dr. Kalamandalam Radhika, as in her earlier book, Mohiniattam, which too was published by Mathrubhumi Similarly, she has again bestowed on me as before, the honour of writing this preface too. I have the pleasure of submitting this title to connoisseurs for their appreciation.