Mohiniyattam

Mohiniyattam, also spelled Mohiniattam (Malayalam: മോഹിനിയാട്ടം), is a classical dance form from Kerala, India. Believed to have originated in 16th century CE,^[1] it is one of the eight Indian classical dance forms recognised by the Sangeet Natak Akademi. It is considered a very graceful form of dance meant to be performed as solo recitals by women.

Mohiniyattam was popularised as a popular dance form in the nineteenth century by Swathi Thirunal, the Maharaja of the state ofTravancore (Southern Kerala), and Vadivelu, one of the Thanjavur Quartet. Swathi Thirunal promoted the study of Mohiniyattam during his reign, and is credited with the composition of many music arrangements and vocal accompaniments that provide musical background for modern Mohiniyattam dancers. The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school in 1930, played an important role in popularizing Mohiniattam in the 20th century.

The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnudisguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi (ocean of milk and salt water).

In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The name Mohiniyattam may have been coined after Lord Vishnu; the main theme of the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to perform this in temples. It also has elements of Koothu and Kottiyattom. Mohiniyattam is a drama in dance and verse.

The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniyattam. There are approximately 40 basic movements, known as atavukal.

The three pillars — Sri Swathi Thirunal Rama Varma, Sri Vallathol Narayana Menon (a poet and founder of the institution, Kerala Kalamandalam) and Smt. Kalamandalam Kalyanikutty Amma (considered “the mother of Mohiniyattam”) — contributed to the shaping out of the contemporary Mohiniyattam during the later part of the 20th century. Guru Kallyanikutty Amma cleared the mythical mystery behind the name of this dance form and gave it the most convincing explanation based on truth, social and historical evolution, interpreting Mohiniyattam as the dance of a beautiful lady than that of a mythical enchantress from heaven.

The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges. The dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras (gestural expressions by the hand palm and fingers).

The Jewellery our traditional dancers wear is the typical complete set of Temple Golden Finish Jewellery with a proper wide Golden Lakshmi belt specially designed for Mohiniyattam. The foot steps are made tinkling with a good pair of original Chilanka or either known as Ghungroo or Dancing bells worn by the dancer on her legs. The performer also adorns herself with Fresh white Jasmine flowers which is decked to her hair bun arranged on the left side of the head pinned on to a beautiful Jurapin, which makes Mohiniyattam artists distinct from other dance forms artists of India.

The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture ofSanskrit and Malayalam. The Mohiniyattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy, sensual manner to enchant the mind without enticing the senses.

Composition

1.     Jump up^ Mohiniyattam, The first reference to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan Namboodiri, of 16th century AD.

Basic Lessons of Mohiniyattam - Nritta or Pure dance

Mohiniyattam is a beautiful dance form of the women of Kerala and it is one of the classical dances of India too.Among the various vrithi-s (styles) detailed by Bharata Muni in his Natya Shastra, Mohiniyattam most resembles the kaisiki(graceful)type.Consisting, as it does, of gentle Angahara-s and belonging to the Lasya style which is feminine, tender and graceful: The kaisiki style is most appropriate for the erotic sentiment and its related expressions.

It has often been said that the movements of the limbs and body of the danseuse of Mohiniyattam should be gentle and graceful like the waves in a calm sea or the swaying of the paddy plants in the field, in a breeze.

To know some basic principles that govern the Mohiniyattam dance style will be of great help for all artistes and art lovers to enjoy this art form.

Like many other Indian dance forms the aspects of Mohiniyattam can be divided mainly into two - Nritha (pure dance ) and Nrithya (expository dance). When a child starts learning Mohiniyattam she /he starts first with the Nritha (pure dance).

Nritha Mandalam-s (stances), Pada bheda-s (foot variations), Padachari-s(gaits) and Nritha hasta-s(gestures) are the main parts of the pure dance patterns. Beautiful combinations of all these above mentioned are called Atavu-s. There are about 55 to 60 Atavu-s in the training pattern followed at Natanakaisiki belonging to the two major styles of Kerala, the Kalamandalam style and Guru Kalyanikuttyamma’s style.

Mandalams Basic posture of the feet is considered as one of the most important aspects of many of the dance forms.In Mohiniyattam the basic posture is known as Aramandalam. In Thiruvathirakali (a groupe dance form of Kerala women which is very closely related to Mohiniyattam)this is known as vattakkalil thanu nilkuka (means bend your leg and stand.). Most of the Atavus –the basic dance units –begin from this basic position. Even though Aramandalam is the most important one, based upon the level of the knees there are five such stances in Mohiniyattam.These are the Sama mandalam,Aramandalam, Muzhumandalam,Mukkalmandalam and Kaalmandalam.

1.Standing erect without bending the knees is called Samamandalam.

2.The knees should be bent and spread apart to form the shape of a pot.

  This is known as Aramandalam.(Vattakkal). The feet for Aramandalam

  should be set flat on the floor about two and a half inches apart,

  the right foot turned to the right corner and the left foot, to the left.

  The distance between the toes being about twelve inches.

3.The third one is called Muzhumandalam.In this the knees should bent

  and spread apart,the toes alone would touch the ground and the danseuse

  should sit on her heels,producing a squatting stance.

4.When the knees are positioned between Muzhumandalam and Aramandalam

  it is  called Mukkalmandalam. (the word ‘mukkal’ means three forth ).

5.When the knees are positioned in between Aramandalam and Samamandalam it is called as Kaalmandalam.

  (the word ‘Kal’ in Malayalam means one fourth).

Chari-s (gaits)In Mohiniyattam there are five different usages of Pada chari-s. They are Hamsa (swan)Padam, Kukkuda(hen)Padam, Mayoora (peacock)Padam, Mandooka (frog)Padam, and Naga (snake)bandham.

Atavus (basic dance units) Atavus are the basic units, which are sub-divisions of the pure dance in Mohiniyattam.These are created combining hand gestures, body movements, mandalam-s, footwork, and Chari-s.

When Mohiniyattam is taught, to ensure that the people develops graceful body control, it is these Atavu-s, that are practiced in the first few years of training.

Atavus have been grouped into Taganam, Jaganam, Dhaganam and Sammisram. The grouping has been done according to the Vaythari-s(syllables) used.

Unlike in Bharathanatyam, in Mohiniyattam when these Adavus are choreographed with beautiful patterns and rhythm to create beauty or to support the bhava(mood) the Vaythari-s (syllables )are always used in a raga.

Nritha choreographies In Mohiniyattam, items like Cholkettu, Jathiswarom and Thillana give greater prominence for Nritha. Cholkettu consists of stylised rhythmic syllables in tune with raga and the danseuse with pure dance patterns dances appropriate to it. Jathiswaram is an assemblage of jathi-s (syllables)and swara-s (musical notes ) within the frame work of a raga and tala. Beautiful sculpturesque postures and atavus are combined with intricate rhythm and designed to high -ight the grace of this dance style. Tillana-s have a lot of rhythmic Vaythari-s and these have been beautifully choreographed with Nritha in Mohiniyattam.

However in other items such as Varnam, Padam, Saptam, Nritha is used in between differents parts of abhinaya(enactment), as a part of the abhinaya or sometimes even to support the mood of the abhinaya. These are some details about the Nritha in Mohiniyattam.

Source: Wikipedia

Manipuri

Manipuri is the synonym of Meetei or Meitei. Meetei is an endonym and Manipuri is an exonym.

It may refer to:

·         Manipur, a state in northeastern India

·         Manipuri language, a Tibeto-Burman language also known as the Meeteilon

·         Manipuri people, an ethnic group in South Asia

·         Manipuri literature, the literature in Manipuri language i.e. Meeteilon

·         Manipuri script or Meitei Mayek script, the script used for Meeteilon by the Meitei people

·         Manipuri dance, one of the Indian classical dance forms.It is also known as Meetei Jagoi

·         Manipuri pony, a horse breed

Source: Wikipedia

Kuchipudi

Kuchipudi /kuːtʃiˈpuːdi/ (Telugu: కూచిపూడి) is a Classical Indian dance from Andhra Pradesh, India. It is also popular all over South India.Kuchipudi is the name of a village in the Divi Taluka of Krishna district that borders the Bay of Bengal and also the surname of the residentBrahmins practicing this traditional dance form, it acquired the present name.^[1]

The performance usually begins with some stage rites, after which each of the characters come on to the stage and introduces him/herself with a dharavu (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a lightweight wood called Boorugu. It originated in the seventh century.

Style

Bharata Muni who wrote the Natya Shastra about 3000 years ago had explained various aspects of this dance form. Later sometime in the 13th century, the impetus to kuchipudi was given by Sidhendra Yogi. Siddhendra Yogi redefined the dance form. Siddhendra Yogi’s former name was Siddhappa who was an orphan Brahmin.

Kuchipudi dancers are quicksilver and scintillating, rounded and fleet-footed, they perform with grace and fluid movements. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exposition Kuchipudi numbers include 'jatiswaram' and 'tillana' whereas in nrityam it has several lyrical compositions reflecting the desire of a devotee to merge with God. In an era of the degeneration of dance due to exploitation of female dancers, an ascetic, Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps, there are certain types of dances that are unique to Kuchipudi: Specifically there is the Tarangam which is unique in that t plate with two diyas (small oil-burning candles) in his or her hands while balancing a "kindi" (small vessel) containing water.

The dance styles in the state are based on the standard treatises, Abhinaya Darpana and Bharatarnava of Nandikeshwara, which is sub-divided into Nattuva Mala and Natya Mala. Nattuva Mala is of two types — the Puja dance performed on the Balipitha in the temple and the Kalika dance performed in a Kalyana Mandapam. Natya Mala is of three kinds — ritual dance for gods, Kalika dance for intellectuals and Bhagavatam for common place. The Natya Mala is a dance-drama performed by a troupe, consisting only of men, who play feminine roles.

Movements and music

The songs in Kuchipudi are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. In Tarangam at times she places a pot full of water on her head and dances on the brass plate. The song accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts the life and events of Lord Krishna

In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam. She goes through various stages of love. When in separation from Lord Krishna, she recalls the happy days of union and pines for him. At last they are reunited when she sends him a letter.

One more number from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which a milkmaid invites Krishna for a rendezvous in myriads of ways giving full scope for the dancer to display the charms of a woman

Kuchipudi is as ancient as Natya astra (1st century BC)in which mention is made of a dance drama form besides solo. An invocatory verse also indicates that four forms of dance were prevalent then, of which ‘Dakshintya’ or South Indian form is apparently the earliest version of Kuchipudi. There is also historical evidence that the art flourished during the reign of the Satavahanas (2nd century BC). Over the centuries as the performances were dedicated to the worship of Vishnu, the form came to be known as Bhagavata Mela Natakam. It was during Siddhendra Yogi’s time (14th – 15th century) that it came to be known as Kuchipudi, named after the village established by Siddhendra Yogi where his follower, the Brahmin performers settled down.

Two parallel schools of dance have existed since time immemorial, viz. Nattuva Mela and Natya Mela. The former evolved into Bharat Natyam and the latter into Kuchipudi. There is difference in the presentation itself. The main difference lies in the abhinaya. The graceful, lasya oriented Kuchipudi gives importance to Vakyartha abhinaya go together. Bharatanatyam on the other hand is Mudra oriented and gives importance to Padartha abhinaya, each word interpreted through mudras. Certain movements are characteristic to Kuchipudi. Vachika abhinaya (use of words/dialogues) is also a special feature of the Kuchipudi style.