Pallavikrishnan - The Exponent of Mohiniyattam
Pallavikrishnan - The Exponent of Mohiniyattam
http://www.pallavikrishnan.com
Pallavi Krishnan - Leading exponent of Mohiniyattam, is one of the most sought after Mohiniyattam performers and a trendsetter for many young dancers the world over, motivating them to take up this art form seriouslyMohiniyattam is one of the most lyrical classical dance traditions, originating from Kerala, the land of palm trees, backwaters, caparisoned elephants, Kathakali and Koodiyattam, and innumerable folk arts and festivals; that is God's own land. Its movements are soft and graceful (lasya oriented) and soaked in feminine grace. They have been likened to the sway of palm leaves in the gentle breeze. Mohini means enchantress and attam means dance; Mohiniattam is the dance of the enchantress traditionally performed by women.The tradition of Mohiniyattam can be traced back to the 16th-17th century, a period generally considered as the golden era of arts and literature in the history of Kerala. A few scholars consider Balaramabharatam authored by Karthika Thirunal Balarama Varma of the Swathithirunal family, which in fact is an elaboration of the 6th to 10th chapters of the Natyashastra, as an authentic treatise on Mohiniyattam. The murals and sculptures of the 18th century in some temples and palaces too depict the concept of Mohini.The earliest known textual reference to Mohiniyattam is found in the commentary on the Vyavaharamala, a Sanskrit text written by Mazhamangalam Namboodiri during the 16th century. In the commentary believed said to be authored by a Brahmin scholar who migrated to Kerala, the word for "dancers" was translated as "Mohiniyattam artist etc". Another reference on Mohiniyattam can be found in the Ottanthullal (a semi-classical and semi-folk dramatic art form of Kerala) script Ghoshayatra, authored by Kunchan Nambiar during the second half of the 18th century.Betty True Jones, lecturer in Indian classical dance at the University of Pennsylvania and Director of the South Asia Student Performing Group, did the first in-depth research work on Mohiniyattam in 1959-60. Her paper was published in 1973 by the Committee on Research in Dance of the New York University. However, it did not earn the attention that it deserved from Indian dance scholars.Perhaps Mohiniyattam is the only art form of India that was subject to several revivals and renaissance. The efforts of Maharaja Swathitirunal (1813-1846) and the attempts of Kerala poet laureate Vallathol Narayana Menon, in 1932,1937 and in 1950, are important endeavours in the history of this art. The late Thankamani was the first student of Mohiniyattam at the Kerala Kalamandalam (1932). She left the institution within a couple of years on her marriage to the late Guru Gopinath. Kalamandalam Kalyanikutty Amma and Kalamandalam Sathyabhama are respectively the proteges of the later efforts of Vallathol, during 1937 and 1950 respectively, through this institution.The tradition of this dance form sustained through the contributions of these two veterans; while Guru Kalyanikutty Amma's was an effort at her individual level, Guru Sathyabhama got the platform of the Kerala Kalamandalam, where since 1957, until her retirement as its Principal in 1993, she was faculty. Through the Kalamandalam Sathyabhama reformed the art more aesthetically by giving an indigenous touch to the hairstyle, adapting more adavus and mudras.
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Culture Jan 8, 2007
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Culture Jan 8, 2007
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1. Mohiniyattam
The swaying coconut trees in the gentle breeze is reminiscent of the soft and languorous movements of Mohiniyattam - the feminine classical dance form of Kerala. Literally meaning the Dance of the Enchantress, it is deeply rooted in femininity, GRACE (Lasya) and BEAUTY (Sringara) forming the quintessence of this dance form.Of all the classical South Indian styles, Mohiniyattam can be singled out with admirable distinction, for it's characteristic body movements, marked by the graceful sway of the torso. What is unique is the easy going rise and fall of the body, with emphasis mainly on the torso. The movements are never abrupt, but dignified, easy, natural, restrained and yet subtle. The glances, postures, gait employed are so subtle and graceful that they convey the infinite suggestiveness of radiant love.The traditional costume worn in Mohiniyattam is white with a gold border, and gold ornaments are worn. The unique coiffure with hair gathered on the left side of the head reflect it's aesthetic appeal, making it distinct from the other dance forms of India. The regional system of music that Mohiniyattam follows is the SOPANA style which in it's lyricism is evocative of the spiritual element.It was during the reign of the great Poet King, Maharaja Swati Tirunal that Mohiniyattam received considerable patronage. After his untimely demise, adverse circumstances led to the decline of this dance form till when in the 1930's Mahakavi Vallathol founded the Kerala Kalamandalam and once again revived the dance form. More recently, relentless efforts of exponents and researchers like Guru Padmashri Smt. Bharati Shivaji have contributed significantly in ensuring Mohiniyattam's place on the world map.
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Welcome to Kerala Art. Kerala has a rich history of art and culture. Preservation of our rich heritage is possible only through the popularization of ancient art forms, which are deeply rooted in our culture. Our aim is to showcase the kerala painting, dance, music, handicrafts, jewellery and all kerala art forms and thus to create an awareness worldwide about our glorious cultural heritage.
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Bhasabharathi inherits the legacy of the continued and colourful work of the SOPANAM INSTITUTE OF PERFORMING ARTS AND RESEARCH, which has a standing of more than 40 years in the field of theatre and performing arts of Kerala. The founder director of Sopanam Shri. Kavalam Narayana Panikkar in collaboration with other active members like Dr. K. Ayyappa Panikker, famous poet, late Shri. G. Aravindan, eminent film maker, Shri. Bharath Gopi, Shri. Nedumudi Venu and many other enthusiasts in the field of culture has been able to organize a series of Cultural events in Kerala during the past, including four major international Bhasa festivals, play productions in both Malayalam and Sanskrit, many workshops on theatre, music and dance etc.SOPANAM has been able to make elaborate documentation of many folk, tribal and classical art forms which were facing extinction. This constitutes good material for in-depth study on the traditional culture of Kerala. In fact the theatre productions of Sanskrit plays of Mahakavi Bhasa and Kalidasa and other Malayalam plays have been made possible only with the help of the documentation of these traditional materials and the research on the same. The contribution of Sopanam to the art of Mohiniattam and indigenous music also is of significance. It may be noted that the achievements of two dancers of eminence in Mohiniattam Dr. Kanak Rele, Nalanda Dance Research centre, Bombay and Smt.Bharathi Sivaji, Kala Ambalam, New Delhi have been made possible due to their collaboration with sopanam.Bhasabharathi is formed with a view to further the achievements of Sopanam on an international level. It is proposed to organize outreach activities by conducting international theatre workshops to teach the theories of Indian aesthetics through practice for which further efforts in the documentation of artistic materials and the dissemination of the same are of primary importance.
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