മോഹിനിയാട്ടത്തെ കുറിച്ച് സംവദിക്കാന് ഒരു വേദി,എല്ലാവരും എഴുതണം; അനുഭവങ്ങളും പുതിയ ആശയങ്ങളും പങ്കുവെക്കണം..
A platform for Mohiniyattam discussions... Please do share your experience and views..... Divya Nedungadi (Mohiniyattam Artiste and Researcher)
Saturday, 9 July 2011
Some Post-Independence Write-ups on Mohiniyattam - Interesting!
Vol. 11 Issue no. 1; December 1957, p. 54
Parallel to Bharata Natyam in Tamil Nadu, is Mohini Attam in Kerala.
Performed solo by a woman (though in the past men also performed),
Mohini Attam combines nrita (pure dance), nritya (expression), and
elements of Kathakali. Named after the mythological seductress Mohini,
the dance is graceful and sensuous, and is accompanied by classical
Carnatic music in Malayalam. The dancer wears a white sari held by
a gold belt and her hair is adorned with a circlet of jasmine flowers.
Make-up is simple with the eyes emphasized, and traditional Kerala
jewellery is worn.
Anand, Mulk Raj
Mohini Attam: Mixture or Synthesis [Editorial]
Vol. 26 Issue no. 2; March 1973. Between p. 2-3
Mohiniattam is a synthesis, rather than a mixture, of Bharata Natyam and
Kathakali. The dance is mainly secular in its primary inspiration.
The Charm of Mohini Attam
Vol. 26 Issue no. 2; March 1973, p. 3-5
A study of the origin and growth of Mohiniattam, which is a fusion of the
Bharata Natyam and Kathakali styles. It achieved its present classical form
and repertoire during the reign of Maharaja Swathi Tirunal of Kerala.
After Tirunal, the dance form declined, until its recent revival by exponents
like Shanta Rao. Kanak Rele too has accumulated useful material on
the repertoire of Mohiniattam.
Myth [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 6
Indian mythology registers a number of dramatic conflicts between the celestial
enchantress Mohini and the danavas (asuras). The article cites one such myth
associated with Mohiniattam (the dance of Mohini).
The Origins [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 7-9
The writer examines different theories regarding the antiquity of Mohiniattam
(dance of the enchantress) in Kerala. It is concluded that its roots are in the
dance form of the era of the Tamil classic Shilappadikaram and treatises on
dance as suitable for feminine interpretation, and it developed into its present
style between the 14th and 17th centuries.
Historical Survey [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 10-18
With its roots in the dance form of Kerala of the Shilappadikaram era, Mohiniattam
developed into its present form between the 14th and 17th centuries. It developed
affinities with the Bharat Natyam technique and repertiore in Swathi Thirunal's court.
Decadence set in under alien rule in the first quarter of the 20th century, but the
advent of a few dancers -- mostly from outside Kerala -- has helped spread the
legend of Mohiniattam.
Technique [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 19-34
Mohiniattam follows the tenets of the Natyaveda. Its movements consist of
angikabhinaya (body movements), nayanabhinaya (movement of the eyes),
sattvikabhinaya (all human activity resulting from the concentrated mood),
nritta and nritya aspects, hastas (hand gestures), bhavas, and rasas.
The article describes these techniques.
Repertoire [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 35-45
The repertoire of Mohiniattam runs almost parallel to that of Bharata Natyam.
Chollukottu is the invocatory item, followed by swarajati (or jatiswaram),
varnams, padams, tillana, shlokam, javali, and virutham.
The Three Surviving Traditional Dancers [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 46-47
Records the style and repertoire of Kunjukuttiamma, Chinnamuamma, and Kalyanikuttiamma.
Contemporary Exponents [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 47-48
Profiles of Shanta Rao, Satyabhama Padmanabhan, Kanak Rele, Vyjanthimala, and Sugandhi.
Costume and Make-up [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 49
Details of the garments, hairstyle, and ornaments of the Mohiniattam dancer in Kerala.
Musical Content and Instruments [Mohini Attam]
Vol. 26 Issue no. 2; March 1973, p. 50-52
Elaborates the musical content of Mohiniattam -- swara, chollu, bola, raga, and tala --
and lists the musical instruments used.
Mohiniattam -- The Dance of the Enchantress
Vol. 32 Issue no. 2; March 1979, p. 75-80
[Also in - Splendours of Kerala; Pages - 101-106]
The article discusses the antiquity of Mohiniattam, its style and tradition, themes,
repertoire, poetic compositions, costumes, and exponents.