Mohiniyattam, the classical female art form of Kerala, is perhaps one of the most graceful dance styles among the South Indian classical forms. The book attempts to cover the regional setting of the dance form, and brings out the legendary, literary and historical sources enriched by citations to numerous sculptures found in the Kerala temples. The aesthetics of Mohiniyattam are described in some details through elements of Angika, Vachika, Aharya and Satvika. The role of music and musical instruments, which is integral to the dance form, is highlighted along with the rich repertoire of rhythms. Detailed treatment is given not merely to different mudras and their usages, but also to costumes, jewellery, hairdo and facial make up. The book highlights the significance of the rituuals such as the votiv illumination and audience participation. It is copiusly illustrated in colour and black and white on all aspects of Mohiniyattam. The book concludes by looking into the future of this great dance form exploring new dimensions which are coming through diligent research.
At a time when there were no takers for the beautiful dance form of Mohiniyattam, Bharati realized its immense potential, which had never been explored. At the behest of the late Smt. Kamaladevi Chattopadhyaya, she undertook research in this dance form, under a scheme from Sangeet Natak Akademi.
Initially beginning her research under Sri. Kavalam Narayana Panniker, one of the most illustrious authorities on theatre in the country, Bharati has been researching in Mohiniyattam for several decades, which eventually became the cause of her life. She has played a significant role in the reconstruction of the dance form, re-orientingand revitalizing the concert format and expanding the parametersof its technique and idiom.
Bharati's pursuit of Mohiniyattam also initiated her into other regional art forms of Kerala thus enabling her to imbibe the aesthetics of Mohiniyattam not in isolation, but in significant relation to the inter-disciplinary traditions of Kerala, be it theatre, music, sculpture, painting, architecture and literature. She embarked on a process of assimilating elements from various art forms in which she discerned an affinity with Lasya, the feminine spirit which constitutes the quintessence of Mohiniyattam. Her performances have been presented nationally and internationally, to critical acclaim.
Bharati's research into the cultural legacy of Kerala culminated in the publication of her earlier book, The Art of Mohiniyattam, making it one of the most illuminating works on the form and spirit of Mohiniyattam. She has also authored, along with Vijayalakshmi, her daughter disciple, another book titled Mohiniyattam.
She is the Founder Director of Centre for Mohiniyattamwhich is actively engaged in propagation, research and training of Mohiniyattam. It has several traditional and innovative choreographic works to its credit.
Born in Kumbhakonam in Tamil Nadu in a family having deep roots in traditional performing arts, Bharati took to dance at the early age of eight. Trained in Bharatanatyam under the tutelege of Smt. Lalita Shastri of Kalakshetra, Bharati has been performing for more than two decades, and her performances in this genre have been countless both in India and Abroad.
However, her most significant work has been in the field of Mohiniyattam and she has been pursuing it ever since she was favoured with a scholarship from the Sangeet Natak Akademi. This opportunity provided an impetus to Bharati for undertaking numerous trips to Kerala the land of Mohiniyattam; to meet the old Gurus, to hunt for the extant literature, to collect fragments of a fading regional musical system, to move with the surviving practioners, to visit temples to document sculptural evidences and incorporate all these into an organic form. her research still continues and as a practioner she cherishes the hope that her efforts would enable her to find a rightful place for Mohiniyattam among the established classical dances.
The late 1970s witnessed the emergence of Mohiniyattam, resurrected and surging forward to mark its presence in the midst of other classical dance forms of the country. It was then, that doyens and visionaries like Kamaladevi Chattopadhyay concerned themselves with unearthing the indigenous arts post independance.
This book is a revised version of the earlier edition and a culmination of personal experiences of my journey since the late 1970s.
It is hard to put into words or give a satisfactory description of the technique. I am inclined to agree with Shanta Rao, one of the earliest exponents of Mohiniyattam, when she says, "How can one know what the technical terms the names given to certain movements and gestures" mean unless the movements are themselves demonstrated before one?
It is like describing the fragrance of a flower to one who has never seen or smelt one. So reading about dance is meaningless..." Words, even the best of all available words, cannot express the nuances of emotions experienced by any involved dancer. One can only say that it is left to the creative imagination of the rasika to perceive the beauty and grace of Mohiniyattam.
My initiation into Mohiniyattam was rather incidental. The unique opportunity given by Smt. Kamaladevi Chattopadhyay, former Chairperson of Sangeet Natak Akademi by sending me to Kerala was a stepping stone to my humble pursuit along this line. I am ever indebted to her. This gave me an impetus to delve deeper into the subject, for I have always felt that this beautiful art form, even though limited in its repertoire as compared to other classical styles, did possess tremendous potentialities of a highly classical form.
Kerala is distinguished for its very large variety of traditional performing arts, many of them still robust and vivacious. A commendable fact is that any form when threatened with decline has been swiftly revitalised and given a fresh lease of life.
In India dance has been an integral part of every performing art and the very essence of a cultural performance. Dance therefore is a vivid narration of the various passions, moods, legends, tales and exposition of philosophies, and above all a devotional offering like music, with which it has been totally integrated. The range being almost limitless, the modes of expression have been equally countless. Thus dancing seems to have come to hold a most significant place in our everyday life.
Amongst these, Mohiniyattam, a predominantly läsya form, stands out because of its delicate allure and extraordinary grace. Bharata has asserted that lasya is meant as an adoration to the deity. Therefore it is natural that dances like Mohiniyattam, the embodiment of läsya, should become a form of worship. Gradually, the custom of dedicating dancers to the deity so that a dancer could perform her art as part of worship was contrived. Thus the dancer's entire life was hence forward woven round the deity to whom she was now wedded. The devotional media swelled and intensified as a whole movement upsurged as the Bhakti era which transfigured dance, embodied eternally in the image of Nataraja.
In Kerala from the early era around 90 A.D. women dancers had dominated along with men. Whole generations of women dancers emerged as Naggai or Nagachi who held prominent positions and enjoyed high public esteem.
**Contents and Sample Pages**
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