View source for Mrinalini Sarabhai

=Early life=
[[File: Mrinalini Sarabhai with Rabindranath Tagore, Vikram Sarabhai, Jawaharlal Nehru and children Mallika and Kartikeya.jpg|Mrinalini Sarabhai with Rabindranath Tagore, Vikram Sarabhai, Jawaharlal Nehru and children Mallika and Kartikeya; Graphic courtesy: [http://epaperbeta.timesofindia.com/Article.aspx?eid=31808&articlexml=Dance-was-the-breath-of-her-life-stage-22012016017011 ''The Times of India''], Jan 22 2016|frame|500px]] 

Sarabhai was born in Kerala, spending her early years in Switzerland. In school, she was introduced to Dalcroze Eurhythmics, a system of introducing musical concepts through movement. She spent time studying acting at the American Academy of Dramatic Arts. On returning to India, she enrolled at Santiniketan where she was profoundly influenced by Rabindranath Tagore and singled him out as her only real guru.

Like many other dancers of her generation, Sarabhai trained in multiple dance styles. She learned Manipuri with Amubi Singh and Kathakali with Kunju Kurup. She also caught the attention of dancer Ram Gopal, who went on to cast her in some of his productions. Further, she studied Bharatanatyam with Meenakshi Sundaram Pillai and Muthukumar Pillai.

She met the celebrated scientist Vikram Sarabhai, who is known as the architect of India’s space programme, in Bangalore. They got married in 1942 and moved to his home in Ahmedabad. There, Mrinalini had to counter the notion that being a performer was not an acceptable career choice for “respectable women”.

Living in the post-Independence India, there was much to rejoice about. Yet, Mrinalini was also disturbed by the inequality she saw around her. Very early on, she brought social issues into her choreographic practice. “I was looking for subjects that would shake people in dance,” she once said in a documentary.

For instance, Memory is a Ragged Fragment of Eternity (1960s) was triggered by the high suicide rate of women in India. It starts with an exuberant dance by three women celebrating their womanhood and their existence. It then segues into the story of one woman, taking us on a journey through her life. It masterfully eludes the literal in its depiction of the censure that drives this woman to the brink of suicide.

Dancing in a diagonal coming downstage, two dancers use the sharp lines of a simple Bharatanatyam adavu (step) to express their suspicion and resentment towards her. Thrown at the protagonist, the mudras (gestures) have the potency of poisoned arrows. The costume reinforces the message, bringing the piece closer home. While the vocabulary is drawn from Bharatanatyam, the dancers are clad in colourful textiles from Gujarat, wearing chunky silver instead of the detailed temple jewellery of Tamil Nadu.