Saturday, 9 July 2011

Some Post-Independence Write-ups on Mohiniyattam - Interesting!

Mohini Attam 
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.

Doraiswamy, Y.G.
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.

Rele, Kanak
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).

Rele, Kanak
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.

Kurup, Balakrishna
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.

Rele, Kanak
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.

Rele, Kanak
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.

Rele, Kanak
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.

Rele, Kanak
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.

Rele, Kanak
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.

Radhakrishna, Geeta
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.

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