Leading Mohiniyattam dancers in Kerala and from other states gathered in Thiruvananthapuram to participate in the first ‘Kavalam Maholsavam’, to pay homage to the late Kavalam Narayana Panicker, versatile poet, lyricist and playwright. ‘Sopanayanam’, as the programme was called, had items that were in harmony with the ‘seva’ format proposed by Kavalam Narayana Panicker, set to a variety of indigenous ragas and talas. The compositions were certainly unique, but how it all worked on stage varied with the dancers presenting the pieces.
Mohiniyattam performed by Bharati Shivaji in Thiruvananthapuram, as part of ‘Sopanayanam’
Bharati Shivaji opened the evening’s proceedings with a Ganapathy Stuti and she adhered to a sophisticated style with serene moves and subtle sancharis. The footwork remained fairly simple and so was the abhinaya. This became pronounced in the padam Ayyanayyane... , portraying the virahokti nayika speaking of the endless wait of Malikappurathamma for Ayyappa. Perhaps a live orchestra, like the rest of the dancers who performed that evening had, would have enhanced her recital.
The spirit of Kavalam's lyrics came alive in Vinitha Nedungadi’s recital, which included a mukhajalam piece and then one of her most lauded works — Karukare Karmukil... . Since Mukhajalam is a pure dance number, the dancer’s perfect sense of rhythm and her skill of performing flawless moves came to light.
In the peacock dance piece, rather than simply acting out the lyrics, her choreography seemed to explore how certain scenes might have inspired the poet to pen those lines. Skilfully imitating the postures and movements of the bird and evoking the feel of the rain as it comes pouring, the dancer made it an absorbing recital.
Mohiniyattam performed by Mohini Vinayan in Thiruvananthapuram as part of ‘Sopanayanam.’
Mohini Vinayan is known more as a theatre artiste, someone who has spent a lot of years with Kavalam. But she was not in the same league as the other dancers as a Mohiniyattam performer. She presented a thathvam based on the Ganga, a padam and a Jeeva.
Mohiniyattam performed by Kalamandalam Devika as part of 'Sopanayanam' in Thiruvananthapuram
Kalamandalam Sugandhi and her student Kalamandalam Devika did shortened versions of a stuti and a mukhajalam with a niram piece. Except for those odd expressions at times, her visual narration of the goddess, remained graceful. The dance part was mostly left to Devika and she did it well enough.
Mohiniyattam performed by Kanak Rele in Thiruvananthapuram as part of 'Sopanayanam'
Kanak Rele, the octogenarian danseuse, presented two of her works that she created during her long association with Kavalam. Hopes and dreams of a maiden meant nothing to Gandhari when she was forced to marry a blind prince; she lost every one of her sons in a war and, yet, she stood for dharma.
Mohiniyattam performed by Sunanda Nair in Thiruvananthapuram as part of ‘Sopanayanam.’
The state of her health might have forced Kanak Rele to perform seated, but it never stopped her from portraying Gandhari’s turmoil in a way that touched the spectators. She also performed Kubja. But after a powerful item like Gandhari, Kubja seemed tame. Kanak Rele left the stage to her senior disciple Sunanda Nair for presenting Amba . The character in focus certainly justified the vigour and intensity that Sunanda brought into her presentation. However, at times, her abhinaya was exaggerated.
The event was staged under the aegis of Sopanam, Kavalam’s theatre group, with the support of a host of state and central agencies promoting art and culture.
