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1481024501P6M12TEXT.Pdf PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 12 THE CREATORS IN MOHINIYATTAM Mohiniyattam, the enchanting, lasya-rich, lyrical and sensuous classical dance form of Kerala, is well-known in all corners of India and most of the world as its exponents and teachers are settled everywhere and many of them have been experimenting with tradition in major and innovative ways. Mohiniyattam has now identified and acknowledged four schools of the dance as it is practiced today – Kala Mandalam, Kalyani Kuttiamma, Dr. Kanak Rele, and Bharati Shivaji. All the schools have different approaches to the style of Mohiniyattan but they are unified in their approach to the base and structure of the dance. A lot of innovations were also done but within the parameters. Over the period of its evolution of more than three centuries, Mohiniyattam has gone through a renaissance many times, punctuated by periods of decadence and non-activity. It had a renaissance under Swati Tirunal, then again at Kala Mandalam by its founder Vallathol Narayana Menon (who catapulted it centrestage during the 1930s). Now dynamic innovations are being brought in by its current practitioners. Kerala has many traditional and ritualistic art forms, when compared to other Indian states. Kathakali and Koodiyattam, being male-dominated, naturally enjoyed more popularity and for a long while, unfortunately, Mohiniyattam was sidelined. 1 But thanks to the structure laid down by dancer-scholars such as Kalyani Kuttiamma, Kalamandalam Satyabhama and the efforts of people like Bharati Shivaji and Kanak Rele, the face of Mohiniyattam has changed. For a number of years Mohiniyattam was only performed as part of other larger choreographies but now this lovely dance has the strength to stand on its own for a full performance, both nationally and abroad. Though Vallathol, almost single- handedly, brought back the various classical dance forms of Kerala, and tried to document, conserve and popularize them at the Kerala Kala Mandalam, the repertoire of Mohiniyattam remained limited and was largely derivative of Bharatanatyam. Kerala Kala Mandalam Vallathol was a reformer who found traces of Mohiniyattam long before the appearance of Silappadikaram due to the mention of Chakyaras of Kerala (a royal dynasty) while such explorers as Pisharoti stated that the dance had 600 years of history. Kanak Rele insists that the aspects of female dance discussed in Balaramabharatam must be referred to Mohiniyattam because the hastas described therein differ from the descriptions of Hastalakshanadipika, another important treatise related to the Kathakali tradition. Maharaja Swati Tirunal influenced by Dasiattam ordered his courtier Karutedatta Chomatiri to popularize this style under the name Mohiniyattam. After Tirunal’s death the British authorities sent everything that was left from the tradition of solo female dance art to central Kerala. That’s why when Vallathol and Mukunda Raja began to reconstruct the Kerala dance, the solo female dance did not correspond to their high cultural standards. The British Col. Monroe imposed an official ban on Mohiniyattam in Travancore and Cochin states. 2 Kavalam Narayana Panikar and other authors worked hard on creating modern music for Mohiniyattam with the purpose of giving it a completely local sound. Neither excessive slow theater music of Kathakali, nor stylized ritual music of traditions like Mudiyettu that appealed to the awe-inspiring aspect of goddess Bhagavati, did not correspond to the music of Mohiniyattam, the dance of seduction. The geometry of motions and the basic technique of Mohiniyattam reflect the unforgettable images of Kerala nature: coco palm leaves waving in the wind, boats rocking on water and creating patterns from radiating circles. This is the endless source of energy unrolling spirally like gradually awoken Kundalini Shakti (sleeping energy) crawling up the spinal column. Guru Madhaviamma and Guru Krishna Panikkar are considered the acknowledged professionals that taught in Kerala Kalamandalam in 1930s. Kalyanikutti Amma too joined Kala Mandalam in the 1930s. When Vallathol persuaded her to dance the Mohiniyattam, there were several social prejudices working against this dance form. She even abstained from her sister’s wedding so that the bridegroom’s relatives did not have a wrong impression of the bride’s family. In 1940 after a humble wedding ceremony with a Kathakali maestro Krishnan Vair, Kalyanikutti Amma settled in Tripunitura where in 1958 she founded her own school with her husband. With her reserved andolika and original expression Kalyanikutti Amma perhaps unconsciously gave Mohiniyattam the accuracy of Bharatnatyam. Kalyanikutti Amma was one of the earliest Kala Mandalam teachers (about 1933-34) and choreographed a number similar to Tarana and called it Hindustani. Kalyanikutti amma, upon Rabindranath Tagore’s request, even went to Santiniketan to teach this style where she stayed till the end of her life. There were other female dancers as well. Kalpuratte Kunjukuttyamma trained under a team of teachers – Gopal Pannikar, Kunjan Panikkar, Krishna Menon 3 and Puliyankotte Aschyutan Nair. She performed a sari-dance as a prelude to the Varnam. Dancers like Tottacheri Chinnammu Amma, Thankamani (who later became Guru Mohiniattam Gopinath’s wife) were extremely elegant performers. However, Kerala Kala Mandalam stayed in strict isolation from other schools and recognized no other style besides its own. It even rejected Kalyanikutti Amma’s approach. Perhaps that’s why students of Kerala Kala Mandalam such as Kshemavati, Sugandi, Himavati, Sarasvati and K. Satyabhama are known only in Kerala. The first dancer to do historical research on Mohiniyattam based on the material available was Betty True Jones from the United States who came to Kerala Kala Mandalam in 1959 along with her husband, Dr. Clifford R. Jones. A few decades later, Brigitte Chataignier from France became enchanted by the lyrical grace and poetic movements of Mohiniyattam. She reached Kalamandalam in 1987 and was under the tutelage of Kalamandalam Leelamma for three years with a scholarship from the Indian Council for Cultural Relations. Her training in Mohiniyattam continued under Kalamandalam Kshemavathy. Wanting to explore the stylistic differences congenital to this dance tradition, Brigitte became the disciple of Devi Rajappan, Nirmala Panickar, Bharati Sivaji and the like. In 1995, she, with her Kathakali-trained husband, Michel, founded the Pran Company in France to promote Indian performing arts and contemporary forms. Brigitte has successfully facilitated several cultural exchange programmes between France and Kerala and has also made a documentary film on Mohiniyattam, which was directed by Adoor Gopalakrishnan. The film primarily aims at experiencing the ‘dance’ rather than dissecting it intellectually. It 4 juxtaposes the life of women on- and off-stage. The film is on Mohiniyattam and not on the individual styles of performance. Tara Rajkumar, a Kathakali and Mohiniyattam dancer who studied at such gurus as Krishnam Nair and Kalyanikutti Amma has been successfully running an enterprise Natya Sudha in Melbourne where Indians and Australians study both styles together. Dr. Kanak Rele Kanak Rele, a performer from Mumbai, is the head of the Nalanda Dance Research Centre, which she founded in1966, and Nalanda Nritya Kala Mahavidyalay which she established in 1972, and both are striking examples of her flair for pioneering work. According to her, she gave aesthetic completeness to Mohiniyattam due to her work with such dancers as Kujukuttiyamma and Chinnamuamma whom she met when their flourishing years had been over. A Mohiniyattam performance by Rele bears the trace of Kathakali for she has come through the severe training of Guru "Panchali" Karunakara Panicker. Panchali Panikar became famous for his soft femininity in Kathakali performance, and his dance in no way contradicted the attractive elegance of Mohiniyattam. Rele’s tryst with Mohiniyattam began when the dance was plagued by all sorts of dirty insinuations. The dancer received a grant from the Sangeet Natak Akademi that enabled her to ferret out what was left of its roots. Later using a grant from the Ford Foundation, she filmed all the surviving exponents including Kunjukutty Amma, Chinnammu Amma and Kalyanikutti Amma, in 1970-71. Dr. Rele claims this documentation is the most authentic as except for Kalyanikutty Amma, the two others were octogenarians and had given up dancing, living in the interior villages of Kerala, so their styles were unaffected by the winds of change and modernisation. 5 By analyzing in detail the audio and film documentation against the backdrop of Natyasastra, Hastalakshanadeepika and Balaramabharatam, she formulated an esoteric style known as the "Kanak Rele School". This school was built on her version of a strong theoretical foundation of `Kine-aesthetics', based on body kinetics and formed after working with experts from various disciplines including medical science. She believed that aesthetics of a dance form sprang from the land of its origin, and therefore used sopana sangeetham for her choreography. The themes of dances choreographed by her are always from mythology though she has an uncanny ability to contemporize them. The Ministry of External Affairs has acquired "Nritya Bharati", a documentary of the seven Indian classical dances produced by
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