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Mohiniyattam,
the female semi-classical dance form of Kerala is said to be
older than Kathakali. Literally, the dance of the enchantress,
Mohiniyattam was mainly performed in the temple
precincts
of Kerala. It is also the heir to Devadasi dance heritage like
Bharata Natyam, Kuchipudi and Odissi. The word 'Mohini' means a
maiden who exerts desire or steals the heart of the onlooker.
There is a well known story of Lord Vishnu taking on the guise
of a 'Mohini' to enthrall people, both
in connection with
the churning of the milk ocean and with the episode of slaying
of Bhasmasura. Thus it is thought that Vaishnava devotees gave
the name of Mohiniyattam to this dance form. |
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The first
reference to Mohiniyattam is found in 'Vyavaharamala' composed
by Mazhamangalam Narayanan Namboodiri, assigned to the 16th
century AD. In the 19th century, Swati Thirunal, the king of
erstwhile Travancore, did much to encourage and stabilise this
art form. The post Swati period however witnessed the downfall
of this art
form. It somehow degenerated into eroticism to satisfy the
Epicurean life of some provincial Satraps and landlords. It was
Poet Vallathol who again revived it and gave it a status in
modern times through Kerala Kalamandalam, which he founded in
1930. Kalamandalam Kalyaniamma, the first dance teacher of
Kalamandalam was instrumental in resuscitating this ancient art
form. Along with her, Krishna Panicker, Madhavi Amma and
Chinnammu Amma, the last links of a disappearing tradition,
nurtured aspirants in the discipline at Kalamandalam.
The
theme of Mohiniyattam is love and devotion to god. Vishnu or
Krishna is more often the hero. The spectators could feel his
invisible presence when the heroine or her maid details dreams
and ambitions through the circular movements, delicate footsteps
and subtle expressions. The dancer in the slow and medium tempos
is able to find adequate space for improvisations and suggestive
bhavas. In format, this is similar to Bharatanatyam. The
movements are graceful like Odissi and the costumes sober and
attractive. It is essentially a solo dance, but in present times
it is performed in groups also. The repertoire of Mohiniyattam
follows closely that of Bharatanatyam. Beginning with Cholkettu,
the dancer performs Jathiswaram, Varnam, Padam and Thillana in a
concert. Varnam combines pure and expressional dance, while
Padam tests the histrionic talent of a dancer and Thillana
exposes her technical artistry. |
