In the ’60s itself, crass commercialism and rigidity made her stop dancing and focus her energy on human rights and feminist issues when no one in India was talking about such things. Yes, she was far ahead in her ideals and ideas.
In 1984, she started dancing once again. By then, India could accept and appreciate her style of combining kalaripayattu and yoga with Bharata Natyam. From Angika in 1985 to Sharira in 2003, she chose a revolutionary and daring path hitherto not travelled by any other dancer. All her work was sheer poetry and drama.
Her production Lilavati (1989) was based on the playful riddles in Bhaskaracharya's 10th century mathematics text of the same name. Prana (1990) was based on the movement of breath and the planets and the relatedness of yoga and dance. Sri (1991) was on the concept of women, their empowerment and enslavement. Yantra (1994) was on the hidden energy centres that activise and illuminate the body.
Mahakal (1995) was based on non-linear, non-incremental notions of time. Raga (1998) was based on the erotica in the body and the quest for femininity in the male.
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