Unlike Koodiyattam the sole extant form of traditional Sanskrit theatre and Kathakali, Mohiniyattam, the highly evolved dance-drama, does not have an authoritative history acceptable to all of its leading practitioners. At Kerala Kalamandalam and elsewhere, symposiums were held in the past with the objective of formulating a syllabi for Mohiniyattam encompassing essential characteristics of the stylistics of eminent dancers in the field. All such efforts invariably ended up in pandemonium.
After a prolonged interlude, Sangeet Natak Akademi, New Delhi, in collaboration with Trikalaa Gurukulam, Delhi, organised a two-day colloquium at its Meghdoot Theatre. The colloquium envisioned an exposition of the theoretical framework of Mohiniyattam, its reflections on the aesthetics of individual dancers and contemporary concerns.
Sopanasangeetham by Ambalapuzha Vijayakumar marked the beginning of the event, which closed in on to the topic, ‘Kaisiki Vritti: manifestations in Mohiniyattam’. Vijayakumar could have sung either an Ashtapadi or a much acclaimed lyric like Ghansanghamitayunna to highlight salient features of the temple music tradition. Instead, he sang a few regional thyanis (kirtanas) in praise of Siva, which were unfamiliar to most of those assembled there.
In her keynote address, Kanak Rele waxed eloquent on her initial exposure to Mohiniyattam, its surviving gurus, interaction with Kavalam Narayana Panicker and finally her own contributions to provide a scientific tenor to the dance form based on her experience, knowledge and academic acumen. She referred to treatises including Karthika Thirunal’s Balaramabharata in establishing the body kinetics of Mohiniyattam. Her disciple Saji Menon did a demonstration of the key aspects of nritta and nritya of the dance form, encapsulating the movement dynamics of the form.
Kalamandalam Vimala Menon and her daughter, Vinduja Menon
Bharati Shivaji recollected the days she spent in Kerala for an intimate experience of Mohiniyattam. Her association with Kavalam Narayana Panicker prompted her to reinterpret the craft and content of the dance based on a close reading of the aesthetics of art forms such as Krishnanattam, Theyyam and Kaikottikkali; musical structure of indigenous percussion instruments like the edakka, and temple sculptures of Kerala. Vinaya Narayanan and Vani Bhalla, two of her disciples, presented excerpts from select items to reinforce the stylistics of Bharati’s Mohiniyattam.
Kalamandalam Kshemavathy then lectured on the fundamentals of Mohiniyattam practised at Kalamandalam and improved upon by dancers like her within half a century. Her disciple Deepa K. did the adavus and Kshemavathy herself presented the padam Enthaho vallabha , as taught to her by Thottasserry Chinnammu Amma. The whole presentation was noted for its simplicity.
Deepti Omcherry Bhalla, herself a Carnatic vocalist and Mohiniyattam dancer, focussed on the richness of the lyrics of Irayimman Thampi and Kuttikunju Thankachi by singing a few lines followed by a short demonstration of the dance. She felt the need to bring in more nritta elements in the main items of Mohiniyattam rather than confining oneself to the traditional vein. The items she presented bore testimony to her perceptions of the dance form.
Kala Vijayan and her disciple, Dhanya Ajith at a workshop
Kala Vijayan, daughter and disciple of the late doyenne Kalamandalam Kalyanikutty Amma, was resolute in her approach to and views on Mohiniyattam as she discarded the possibility of a prospective unification of the divergent schools of training and performance. She and her disciple Dhanya Ajith executed the angika and satwikabhinaya in the style evolved and upheld by Kalyanikutty Amma. In the evening, they conducted a workshop for the students.
On the following day, Kalamandalam Rachita Ravi spoke on Balaramabharatam and did a power point presentation of the charis as dealt with in the treatise. For ensuring the classicism of the movement techniques in Mohiniyattam, Rajitha underlined the necessity to link it with the dictates in Balaramabharatam. Kalamandalam Sugandhi who addressed the gathering afterwards explained and demonstrated the bond between Bharata’s Natyasastra and the fourfold concept of acting in Mohiniyattam.
She performed the moods of the viraholkhanditha Nayika (anguish of a heroine separated from the hero) reflecting on the lines of Alarsaraparithapam , a composition of Swathi Thirunal’s. Sandra Pisharody, disciple of Nirmala Panickar, pointed out the influence of Nangiarkoothu in Mohiniyattam and did a lovely demonstration of certain excerpts from a set repertoire. The topic called for a critical analysis but owing to time constraints the same had to be left out.
Kalamandalam Vimala Menon and her daughter Vinduja Menon presented a lec-dem, the form and content of which adhered to the Kalamandalam School to a considerable extent. Kalamandalam Hymavathi, Neena Prasad, Pallavi Krishnan, Mandakini Trivedi, Gopika Varma, Aiswarya Warrier and Sridevi Unni also participated in the colloquium.
The seminar facilitated an interface between the Mohiniyattam dancers of different generations and schools, thereby opening up sufficient space for self-introspection and for realising the need to shed insularity. Kshemavathy’s advice to the students towards the finale of her workshop on the second day aptly sums up the outcome of the entire event. ‘Accept from any source what is appealing to your aesthetic sensibility resulting in the enrichment of Mohiniyattam’.
( The author was an invitee to the colloquium as participant-observer. )
