Danseuse and researcher Nirmala Panicker's efforts in ferreting out lost pieces in Mohiniyattom have borne results since the formation of her group `Natanakaisiki.' Her continuous effort and research revived and presented by the organisation, has won her laurels over the years. Holding a Post Diploma in the field of dance from the R.L.V Fine Arts Academy of the Govt of Kerala, she trained under eminent Gurus like Kalyani Kutty Amma, Prof. Satyabhama in gestures of Kalamanadalam style of Mohiniyattom and further under Guru Ammannur Madhava Chakyar on various aspects of Abhinaya in Koodiyattom and Nangiarkoothu. She has created a platform through Natanakaisiki, an institute where like minded people sit together to share , debate and research on various aspects of Mohiniyattom.
Nirmala Panicker talks to Sreeni K.R about her love with the enchanting art form and her continued efforts to ferret out the lost pieces in Mohiniyattom.
1]What exactly is Mohiniyattom?
Mohiniyattom is a classical dance form of India ,which originated in Kerala.
2]What is the core of Mohiniyattom?
The speciality of Mohiniyattom is swinging ,swaying and circular movements which mainly portrait lasya or graceful female movements with intricate and elaborate facial expression(which is the core identity of Kerala art forms.)
Among the various aspects of Bharata Muni's 'Natya Sastra', Mohiniyattom mostly resembles the Kaisiki(graceful )type. Considered to belong to the lasya style which is feminine, tender and graceful, the Kaisiki style is most appropriate for expressing the erotic sentiment.
3]What are the basic principles that govern Mohiniyattom?
The basic principle that govern the Mohiniyattom style of dance is the footwork( sama, , nagabandham(resembling the movement of a snake).The postures-as per the bending of the knee ,comprise five Mandalas in Mohiniyattom.These are Samamandalam, Aramandalam,Muzhumandalam, Mukkalmandalam and Kalamandalam. Atavus(Produced by a harmonious combination of various types of hand gestures, body movements,mandalams, footwork and caris. Abhinaya (Entire gamut of mental and emotional feelings sought to be expressed by the actor through physical demonstration),Musical instruments Maddalam/Mridangam, Violin, Veena, Flute, Idakka, Kuzhithalam and Shank are used.
4]In Mohiniyattom which are the items you have choreographed so far?
Two new Cholkettus,two Jathiswarams, five Varnams, Padams ,Thillanas,Slokas (Navarasa sloka of Soundarya Lahari),Kama Dahanam Saptham, was based on �gKumarasambhavam�h of Kalidasa. The cantos chosen described `Sati dahanam,' `Baalakreeda' and `Kama dahanam.' These episodes provided ample opportunities for exploring abhinaya. An incensed Sati immolates herself in the yaga as her father Daksha refused to invite Siva to the yaga.
Parvathy's `Baala kreeda' is one in which I tried to tune the bewitching imagination of the poet in describing Parvathy, `daughter of the Himalayas.' The young Parvathy's playful nature found expression through a `panthattam,' so characteristic of Mohiniyattom. `Kama dahanam' portrayed Kamadeva's failed attempt to unite Siva and Parvaty and how the god of love was consumed in Siva's anger. '
'Leela' is another item..This choreography is based on the great poet Kumara nasan's poem Leela in the form of Mohiniyattom Saptam.
Another work is the rejuvenation of the Desi aspects.Poli, Easal,Chandanam,Kurathy etc. are the Desi items revived and added to the repertoire.
5]Are you happy with the present scenario of this dance form existing in Kerala?
Yes, lots of people are coming to learn Mohiniyattom. The present scenario of the dance form is bright and the tradition will flourish in future.
6]What paradigm shift have you noticed during the years as a Mohiniyattom danseuse?
A lot of changes and research have taken place during the last few years. This is a good sign and takes Mohiniyattom to a new height.
7)As the director, Natanakaisiki Mohiniyattom Gurukulam, Irinjalakuda, tell us about the approach of students.How are the courses scheduled?Do the students choose the art as their career?
The approach of the students has been encouraging.They have been learning both shortterm as well as longterm courses. Both are good for the upliftment of the dance. Nowadays a lot of students come forward to learn Mohiniyattom and they are taking it seriously and making it a profession.
8] As a danseuse and researcher what efforts have you taken to ferret out the lost elements in Mohiniyattom?
As a danseuse and researcher my efforts are always on to ferret out the lost pieces in Mohiniyattom.This has been going on since the formation of my group Natanakaisiki ,in 1979. As a researcher I always try to preserve the old traditions in their pristine forms and at the same time try to find the missing links and rejuvenate the traditional dance forms.
9] What are your contributions as a danseuse and researcher?
We have added the rich Netrabhinaya and Hastabhinaya traditions of Kerala which were earlier part of Mohiniyattom. `Poli,' `Esal,' `Kurathy' and `Chandanam, ' which were revived and presented by the organisation, has won laurels over the years. Here I am continuously working to revive the lost elements in Mohiniyattom.
10]What are the activities of Mohiniyattom Kalari?
Mohiniyattom Kalari is an institution where students are trained in various aspects of this dance form. The training is rigorous and follows Gurukula pattern. Short term courses for teachers and students on selected aspects like hand gestures, atavus and theory, etc are also conducted.
11]Which are your Publications?
My publications are
Mohiniyattom -The Lasya Dance(co-authored by Mr.G.Venu)
Nangiar Koothu- The Classical Dance Theatre of Nangiars.
12] Share your work experience on and off the stage?
Worked as Head of Department, The Lawrence School, Lovedale(1974-2000), conducted workshops on Indian dance in UK under a cultural exchange programme(1998), Presented Lee-dems at the Rietberg Museum, Zurich with Koodiyattom Troupe, Participated in the 50th Indian Independence year celebrations in Japan with Koodiyattom Troupe and was Resource person for The World Theater Project, Sweden.
Nirmala Panicker talks to Sreeni K.R about her love with the enchanting art form and her continued efforts to ferret out the lost pieces in Mohiniyattom.
1]What exactly is Mohiniyattom?
Mohiniyattom is a classical dance form of India ,which originated in Kerala.
2]What is the core of Mohiniyattom?
The speciality of Mohiniyattom is swinging ,swaying and circular movements which mainly portrait lasya or graceful female movements with intricate and elaborate facial expression(which is the core identity of Kerala art forms.)
Among the various aspects of Bharata Muni's 'Natya Sastra', Mohiniyattom mostly resembles the Kaisiki(graceful )type. Considered to belong to the lasya style which is feminine, tender and graceful, the Kaisiki style is most appropriate for expressing the erotic sentiment.
3]What are the basic principles that govern Mohiniyattom?
The basic principle that govern the Mohiniyattom style of dance is the footwork( sama, , nagabandham(resembling the movement of a snake).The postures-as per the bending of the knee ,comprise five Mandalas in Mohiniyattom.These are Samamandalam, Aramandalam,Muzhumandalam, Mukkalmandalam and Kalamandalam. Atavus(Produced by a harmonious combination of various types of hand gestures, body movements,mandalams, footwork and caris. Abhinaya (Entire gamut of mental and emotional feelings sought to be expressed by the actor through physical demonstration),Musical instruments Maddalam/Mridangam, Violin, Veena, Flute, Idakka, Kuzhithalam and Shank are used.
4]In Mohiniyattom which are the items you have choreographed so far?
Two new Cholkettus,two Jathiswarams, five Varnams, Padams ,Thillanas,Slokas (Navarasa sloka of Soundarya Lahari),Kama Dahanam Saptham, was based on �gKumarasambhavam�h of Kalidasa. The cantos chosen described `Sati dahanam,' `Baalakreeda' and `Kama dahanam.' These episodes provided ample opportunities for exploring abhinaya. An incensed Sati immolates herself in the yaga as her father Daksha refused to invite Siva to the yaga.
Parvathy's `Baala kreeda' is one in which I tried to tune the bewitching imagination of the poet in describing Parvathy, `daughter of the Himalayas.' The young Parvathy's playful nature found expression through a `panthattam,' so characteristic of Mohiniyattom. `Kama dahanam' portrayed Kamadeva's failed attempt to unite Siva and Parvaty and how the god of love was consumed in Siva's anger. '
'Leela' is another item..This choreography is based on the great poet Kumara nasan's poem Leela in the form of Mohiniyattom Saptam.
Another work is the rejuvenation of the Desi aspects.Poli, Easal,Chandanam,Kurathy etc. are the Desi items revived and added to the repertoire.
5]Are you happy with the present scenario of this dance form existing in Kerala?
Yes, lots of people are coming to learn Mohiniyattom. The present scenario of the dance form is bright and the tradition will flourish in future.
6]What paradigm shift have you noticed during the years as a Mohiniyattom danseuse?
A lot of changes and research have taken place during the last few years. This is a good sign and takes Mohiniyattom to a new height.
7)As the director, Natanakaisiki Mohiniyattom Gurukulam, Irinjalakuda, tell us about the approach of students.How are the courses scheduled?Do the students choose the art as their career?
The approach of the students has been encouraging.They have been learning both shortterm as well as longterm courses. Both are good for the upliftment of the dance. Nowadays a lot of students come forward to learn Mohiniyattom and they are taking it seriously and making it a profession.
8] As a danseuse and researcher what efforts have you taken to ferret out the lost elements in Mohiniyattom?
As a danseuse and researcher my efforts are always on to ferret out the lost pieces in Mohiniyattom.This has been going on since the formation of my group Natanakaisiki ,in 1979. As a researcher I always try to preserve the old traditions in their pristine forms and at the same time try to find the missing links and rejuvenate the traditional dance forms.
9] What are your contributions as a danseuse and researcher?
We have added the rich Netrabhinaya and Hastabhinaya traditions of Kerala which were earlier part of Mohiniyattom. `Poli,' `Esal,' `Kurathy' and `Chandanam, ' which were revived and presented by the organisation, has won laurels over the years. Here I am continuously working to revive the lost elements in Mohiniyattom.
10]What are the activities of Mohiniyattom Kalari?
Mohiniyattom Kalari is an institution where students are trained in various aspects of this dance form. The training is rigorous and follows Gurukula pattern. Short term courses for teachers and students on selected aspects like hand gestures, atavus and theory, etc are also conducted.
11]Which are your Publications?
My publications are
Mohiniyattom -The Lasya Dance(co-authored by Mr.G.Venu)
Nangiar Koothu- The Classical Dance Theatre of Nangiars.
12] Share your work experience on and off the stage?
Worked as Head of Department, The Lawrence School, Lovedale(1974-2000), conducted workshops on Indian dance in UK under a cultural exchange programme(1998), Presented Lee-dems at the Rietberg Museum, Zurich with Koodiyattom Troupe, Participated in the 50th Indian Independence year celebrations in Japan with Koodiyattom Troupe and was Resource person for The World Theater Project, Sweden.
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