Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Performing Arts > Mohiniattam: The Dance of The Enchantress
Displaying 356 of 1280         Previous  |  NextSubscribe to our newsletter and discounts
Mohiniattam: The Dance of The Enchantress
Pages from the book
Mohiniattam: The Dance of The Enchantress
Look Inside the Book
Description

About the Author

Geeta Radhakrishna is an exponent of Mohiniattam. She is well known for adding a different touch to the "the dance of the enchantree", that of Bhakti, thereby raising Mohiniattam to a height of devine serenity. Geeta unfolded her creative urge and artistic expressions through her various choreographies - the highlight of this book. Having travelled extensively during her career as a dancer, she puts her observations, experience and philosophy in an honest and forthright style.

 

Foreword

Among the dances of India, Mohiniattam, an ancient dance form o kerala, went through many a vicissitude, even to the extent of near extinction, before emerging as a classical form with clear perception and presentational norms in the modern milieu.

Its history shrouded in mystery, its technique ambiguous and a misconception that it is a mixture of Kathakali and Bharata Natyam widely prevalent, it required a great missionary poet, Vallathol Narayana Menon, to resuscitate and give it a new lease of life through his kerala Kalamandalam. Yet, hurdles dogged its progress in dearth of technique, texts and even teachers.

But the indomitable spirit and inspiration of Vallathol and the chosen gurus of the day, followed by scholars’ and students’ quest for exploring the potentials of this art form bore fruits. Today, Mohiniattam stands on its own as a classical idiom. Exponents continue their quest for systematizing the various facets of this fascinating dance of the enchantress.

One such exponent is Geeta Radhakrishna who has had training from Kalamandalam kalyanikutty Amma, Chinnammu Amma and Sathyabhama. These mentors have instilled in her enough confidence and inspiration to go deeper into art form.

A sensitive danseuse with imagination and innovative instincts, Geeta found her forte in Ekartha expositions (solo ballets) on bold and varied themes, though with traditional ambit. But she faced the test of her mettle when she took to teaching in the glaring lacunae of basic Adavus in Mohiniattam. With a central government fellowship she took a plunge and the result was systematization of a comprehensive of a comprehensive technique of Adavus supplemented by line drawing in the book nentitled “Mohiniattam Adavus”.

The overwhelming success of the book as a ready reckoner emboldened her to launch on a more tenuous task of delving into the historical background of the art form with an emphasis on repertoire and choreography. And “Mohiniattam-the dance of the enchantress” is now her dream come true.

A globe trotter, Geeta has made this comprehensive study for art lovers and students all over the world. It covers a large gmut of subjects-the origin, its history and evolution, its unique characteristic features vis-à-vis other

Dance forms such as Kathakali and Bharata Natyam, scope for further development and enrichment, her own experiences and exploits in striking the right chord as regards finding a theme and choreographing the same and expanding her repertoire etc.

Geeta says with conviction that “the style of Mohiniattam was created and evolved in resonance with the tune of nature”, and goes on to compare the gestures and movements to nature. Besides it is attributed to the matriarchal society prevailing in Kerala. To uphold the theory that Mohiniattam is an ancient dance form, she goes to great length through literary evidences over the centuries. The use ancient Tamil Panns (ragas) in the art form, traced in the chapter on Music and Mohiniattam endorses the theory.

The comparison with the other two forms-Kathakali and Bharata Natyam-is absorbing, intelligently tackled and carefully worded. The graphic description in itself serves as a visual portrayal of their distinctive features. The link with the folk art of Kerala, festival rituals, adds on earthy flavor too.

A whole section is devoted to choreography of her Ekartha expositions. Narayaneeyam, Swamiye Saranam Ayyappa, Magdalana Mariam, Karuna, Krishna Leela etc, have a personal touch, vividly unfolding the varied emotions and experiences she has undergone during “gestation” and the responses her presentations evoked. With so many facets to cover, Geeta has in the book, like her dance, adhered to the Sattvik, restraint restraint in expression, very essential in exposition. There are Sanchari bhavas but not elaborate dramatization in words. Brevity is the hallmark of the book.

An added attraction is the Nritya Swara Manjari she has composed for her Adavus. The book endorses the dictum that learning is a perennial process. It is informative and educative, and opens the vistas for further development. A worthy handbook on Mohiniattam!

 

Introduction

Mohiniattam-the dance of the enchantress, is a beautiful gift that has been bestowed on the equally beautiful land Kerala. How should we treat this beautiful gift presented by Gods and Goddesses? I would say, we should treat it with utmost care and love. If we do take care of this graceful style, then it remains with us like a polished diamond, sparking and spreading its hues, far and wide. If we do not take care, it breaks up into pieces, strewed all over in such a way, that it would be difficult to pick up the remnants and put them back into a whole. I am a dancer and a romantic too, like the poets. I visualize Mohiniattam as a lovely flower, the most beautiful creation of Nature. A flower is open to its surroundings, the Nature, the Sun, which gives life to the plant through its rays, the wind that makes it dance with spontaneity and joy. Above all, it radiates beauty. Mohiniattam is exactly like a flower. Everyone can enjoy its beauty. The beauty of Mohiniattam is distinguished by its unique style-a style characterised by the undulating flow of movements, graceful gaits and tender gestures. A Mohiniattam danseuse along with her gestures and facial expression, portrays the human emotions of joy, ecstasy and pathos.

My tryst with classical dance began while in school. remember, while studying in 7th standard in Central School, Dehu Road, our Mathematics teacher told us to write down on a small piece of paper, what we would like to become when we grow up. Each of us secretly wrote down our ambitions. Most of them wrote that they would like to be an Engineer or a Doctor. I had o be honest, so I wrote a) I would like to be a singer. Our teacher opened our little paper and read the contents. She was shocked to see that my ambition was merely to dance and sing. She read it out loud in the class and everyone laughed. All of my classmates started making fun of me, while the teacher asked me, why I did not have any better goal in life. I had no answer then. But, I knew that I had expressed a desire that was deep within me.

During my primary school days, I learnt the classical dance of Bharata Natyam in Madras from Shri Venkatesh, a disciple of Thanjavur Ellappa Pillai. He gave me thorough training in Adavus with strict Aramandalam Posture and parshva feet position, emphasising on Angashuddha and holding the Mudras in a perfect way. Before I was twelve years old, I learnt a whole repertoire in Bharata Natyam and could perform my Arangetram in Tambaram (Madras), to the delight of my parents and my teacher. I enjoyed performing and realised that dancing gave me a lot of joy. I shall always remain indebted to Master Venkatesh for the excellent foundation that he gave me. It was this base that led me to take up with courage further study of Mohiniattam.

Strange is the way of life. My father, who worked for the Indian Army got posted to different areas during his service period. After, Madras, It was Pune and then, Cochin in Kerala. My father, had great love for art forms and more so for the Kerala art forms. He was keen that I learn an art that was so typical of Kerala. That’s when he heard of Mohiniattam and swiftly searched out a teacher for me. The teacher for me. The teacher was Kalamandalam Kalyanikutty Amma. I have devoted a full chapter in this book to my teacher.

Once I began learning Mohiniattam, I felt the attraction. Some strange unknown things were happening. The swaying movements of Mohiniattam, made me aware of the gentle breeze that blew through the green leafy branches of the coconut trees. They were not silent coconut palms but whispering palms that broke into rhythmic syllables. Along with the rhythmic beat of the teacher’s stick, where my feet kept the beat and rhythm, I could feel the rhythm of nature.

Similarly, as I recognised the grace of this superb dance style, inadvertently I began to recognise the world of grace within me too. The rhythm and melody pulled me into a different world altogether, Deep within me, I knew that it was the rhythmic dance and music that I was in awe of. I loved it for it was for me a medium to reach out to the higher force. The rhythm in me naturally responded to the rhythm of the dance beats. But then, I was too young to take a major decision of devoting myself entirely to dance. The elders in the family knew better and would guide me, I thought.

After my study at school and college and the study of Mohiniattam in Kerala, I came to Mumbai. Though I was a science graduate, it happened that I enrolled myself to study Law at Govt. College, Mumbai. Three years of study and I became an Advocate. But I went to the court only for a day and then took a firm decision that this cannot be profession. While I was at the cross roads, I met Shri Soli Batliwala, Trustee of Bhulabhai Memorial Institute, a great connoisseur of art who has supported so many well known artistes of our country. He suggested that I should devote my life to Mohiniattam and do extensive research on the subject. Mohiniattam at that point of time was hardly known and was practiced by very few artistes. Shri Soli Batliwala sponsored my first show in Mumbai and also gave me a scholarship to do further research on the subject. After this. There was no looking back for me.

 

Contents

 

  Contents  
i Foreword-Dr. Sulochana Rajendran 10
ii Introduction  
iii Prayer 19
 
Section One
 
a) Mohiniattam-the dance of the enchantress 22
b) Mohini-the myth  
c) Mohini-the danseuse  
2 Kerala-Land of Mohiniattam 27
3 Sringara-the essence of Mohiniattam 30
4 Historical background of dance in India-A glimpse 35
5 Kerala-Origin, people and social system 41
6 Bhagawathi worship in Kerala 43
7 Devadasis of Kerala 46
8 Literary evidence of Mohiniattam in Kerala 51
9 Architecture, Sculpture & Paintings in Kerala 55
10 Mohiniattam-D3ecline & revival 60
  Mahakavi Vallathol Narayana Menon 62
11 My teacher-Kalamandalam Kalyanikutty Amma 66
  List of old Mohiniattam dancers & Nattuvanars 71
12 Music 72
a) Musical tradition of Kerala  
b) Maharaja Swathi Thirunal 77
c) lrayimman Thampi 80
13 Technique of Mohiniattam 82
a) Comparative study with Kathakali and Bharata Natyam 84
b) Folk arts of kerala 90
14 Repertoire 92
15 Costume & Jewellery 103
  Section Two  
1 Narayaneeyam 108
2 Swamiye Saranam Ayyappa 120
3 Magdalana Mariam 128
4 Karuna 134
5 Krishna Leela 141
6 Nritya Swara Manjari 146
7 Shiva Maanasa Pooja 153
8 The Dancing Nataraja 155
9 The Dance of Shivshakti 157
10 Prakruti Nrityam 159
11 Geeta Govinda 164
12 Sringara Mohini 176
  Glossary  
  Bibliography  
  "Mohinattam-the dance of the enchantress"  
  What the Press says  

 

Sample Pages










Mohiniattam: The Dance of The Enchantress

Item Code:
NAM165
Cover:
Paperback
Edition:
2007
Publisher:
Language:
English
Size:
9.5 inch x 7.0 inch
Pages:
193 (Throughout B/W and Color Illustrations)
Other Details:
Weight of the Book: 385 gms
Price:
$40.00   Shipping Free
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
Mohiniattam: The Dance of The Enchantress

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 1147 times since 6th Jul, 2016

About the Author

Geeta Radhakrishna is an exponent of Mohiniattam. She is well known for adding a different touch to the "the dance of the enchantree", that of Bhakti, thereby raising Mohiniattam to a height of devine serenity. Geeta unfolded her creative urge and artistic expressions through her various choreographies - the highlight of this book. Having travelled extensively during her career as a dancer, she puts her observations, experience and philosophy in an honest and forthright style.

 

Foreword

Among the dances of India, Mohiniattam, an ancient dance form o kerala, went through many a vicissitude, even to the extent of near extinction, before emerging as a classical form with clear perception and presentational norms in the modern milieu.

Its history shrouded in mystery, its technique ambiguous and a misconception that it is a mixture of Kathakali and Bharata Natyam widely prevalent, it required a great missionary poet, Vallathol Narayana Menon, to resuscitate and give it a new lease of life through his kerala Kalamandalam. Yet, hurdles dogged its progress in dearth of technique, texts and even teachers.

But the indomitable spirit and inspiration of Vallathol and the chosen gurus of the day, followed by scholars’ and students’ quest for exploring the potentials of this art form bore fruits. Today, Mohiniattam stands on its own as a classical idiom. Exponents continue their quest for systematizing the various facets of this fascinating dance of the enchantress.

One such exponent is Geeta Radhakrishna who has had training from Kalamandalam kalyanikutty Amma, Chinnammu Amma and Sathyabhama. These mentors have instilled in her enough confidence and inspiration to go deeper into art form.

A sensitive danseuse with imagination and innovative instincts, Geeta found her forte in Ekartha expositions (solo ballets) on bold and varied themes, though with traditional ambit. But she faced the test of her mettle when she took to teaching in the glaring lacunae of basic Adavus in Mohiniattam. With a central government fellowship she took a plunge and the result was systematization of a comprehensive of a comprehensive technique of Adavus supplemented by line drawing in the book nentitled “Mohiniattam Adavus”.

The overwhelming success of the book as a ready reckoner emboldened her to launch on a more tenuous task of delving into the historical background of the art form with an emphasis on repertoire and choreography. And “Mohiniattam-the dance of the enchantress” is now her dream come true.

A globe trotter, Geeta has made this comprehensive study for art lovers and students all over the world. It covers a large gmut of subjects-the origin, its history and evolution, its unique characteristic features vis-à-vis other

Dance forms such as Kathakali and Bharata Natyam, scope for further development and enrichment, her own experiences and exploits in striking the right chord as regards finding a theme and choreographing the same and expanding her repertoire etc.

Geeta says with conviction that “the style of Mohiniattam was created and evolved in resonance with the tune of nature”, and goes on to compare the gestures and movements to nature. Besides it is attributed to the matriarchal society prevailing in Kerala. To uphold the theory that Mohiniattam is an ancient dance form, she goes to great length through literary evidences over the centuries. The use ancient Tamil Panns (ragas) in the art form, traced in the chapter on Music and Mohiniattam endorses the theory.

The comparison with the other two forms-Kathakali and Bharata Natyam-is absorbing, intelligently tackled and carefully worded. The graphic description in itself serves as a visual portrayal of their distinctive features. The link with the folk art of Kerala, festival rituals, adds on earthy flavor too.

A whole section is devoted to choreography of her Ekartha expositions. Narayaneeyam, Swamiye Saranam Ayyappa, Magdalana Mariam, Karuna, Krishna Leela etc, have a personal touch, vividly unfolding the varied emotions and experiences she has undergone during “gestation” and the responses her presentations evoked. With so many facets to cover, Geeta has in the book, like her dance, adhered to the Sattvik, restraint restraint in expression, very essential in exposition. There are Sanchari bhavas but not elaborate dramatization in words. Brevity is the hallmark of the book.

An added attraction is the Nritya Swara Manjari she has composed for her Adavus. The book endorses the dictum that learning is a perennial process. It is informative and educative, and opens the vistas for further development. A worthy handbook on Mohiniattam!

 

Introduction

Mohiniattam-the dance of the enchantress, is a beautiful gift that has been bestowed on the equally beautiful land Kerala. How should we treat this beautiful gift presented by Gods and Goddesses? I would say, we should treat it with utmost care and love. If we do take care of this graceful style, then it remains with us like a polished diamond, sparking and spreading its hues, far and wide. If we do not take care, it breaks up into pieces, strewed all over in such a way, that it would be difficult to pick up the remnants and put them back into a whole. I am a dancer and a romantic too, like the poets. I visualize Mohiniattam as a lovely flower, the most beautiful creation of Nature. A flower is open to its surroundings, the Nature, the Sun, which gives life to the plant through its rays, the wind that makes it dance with spontaneity and joy. Above all, it radiates beauty. Mohiniattam is exactly like a flower. Everyone can enjoy its beauty. The beauty of Mohiniattam is distinguished by its unique style-a style characterised by the undulating flow of movements, graceful gaits and tender gestures. A Mohiniattam danseuse along with her gestures and facial expression, portrays the human emotions of joy, ecstasy and pathos.

My tryst with classical dance began while in school. remember, while studying in 7th standard in Central School, Dehu Road, our Mathematics teacher told us to write down on a small piece of paper, what we would like to become when we grow up. Each of us secretly wrote down our ambitions. Most of them wrote that they would like to be an Engineer or a Doctor. I had o be honest, so I wrote a) I would like to be a singer. Our teacher opened our little paper and read the contents. She was shocked to see that my ambition was merely to dance and sing. She read it out loud in the class and everyone laughed. All of my classmates started making fun of me, while the teacher asked me, why I did not have any better goal in life. I had no answer then. But, I knew that I had expressed a desire that was deep within me.

During my primary school days, I learnt the classical dance of Bharata Natyam in Madras from Shri Venkatesh, a disciple of Thanjavur Ellappa Pillai. He gave me thorough training in Adavus with strict Aramandalam Posture and parshva feet position, emphasising on Angashuddha and holding the Mudras in a perfect way. Before I was twelve years old, I learnt a whole repertoire in Bharata Natyam and could perform my Arangetram in Tambaram (Madras), to the delight of my parents and my teacher. I enjoyed performing and realised that dancing gave me a lot of joy. I shall always remain indebted to Master Venkatesh for the excellent foundation that he gave me. It was this base that led me to take up with courage further study of Mohiniattam.

Strange is the way of life. My father, who worked for the Indian Army got posted to different areas during his service period. After, Madras, It was Pune and then, Cochin in Kerala. My father, had great love for art forms and more so for the Kerala art forms. He was keen that I learn an art that was so typical of Kerala. That’s when he heard of Mohiniattam and swiftly searched out a teacher for me. The teacher for me. The teacher was Kalamandalam Kalyanikutty Amma. I have devoted a full chapter in this book to my teacher.

Once I began learning Mohiniattam, I felt the attraction. Some strange unknown things were happening. The swaying movements of Mohiniattam, made me aware of the gentle breeze that blew through the green leafy branches of the coconut trees. They were not silent coconut palms but whispering palms that broke into rhythmic syllables. Along with the rhythmic beat of the teacher’s stick, where my feet kept the beat and rhythm, I could feel the rhythm of nature.

Similarly, as I recognised the grace of this superb dance style, inadvertently I began to recognise the world of grace within me too. The rhythm and melody pulled me into a different world altogether, Deep within me, I knew that it was the rhythmic dance and music that I was in awe of. I loved it for it was for me a medium to reach out to the higher force. The rhythm in me naturally responded to the rhythm of the dance beats. But then, I was too young to take a major decision of devoting myself entirely to dance. The elders in the family knew better and would guide me, I thought.

After my study at school and college and the study of Mohiniattam in Kerala, I came to Mumbai. Though I was a science graduate, it happened that I enrolled myself to study Law at Govt. College, Mumbai. Three years of study and I became an Advocate. But I went to the court only for a day and then took a firm decision that this cannot be profession. While I was at the cross roads, I met Shri Soli Batliwala, Trustee of Bhulabhai Memorial Institute, a great connoisseur of art who has supported so many well known artistes of our country. He suggested that I should devote my life to Mohiniattam and do extensive research on the subject. Mohiniattam at that point of time was hardly known and was practiced by very few artistes. Shri Soli Batliwala sponsored my first show in Mumbai and also gave me a scholarship to do further research on the subject. After this. There was no looking back for me.

 

Contents

 

  Contents  
i Foreword-Dr. Sulochana Rajendran 10
ii Introduction  
iii Prayer 19
 
Section One
 
a) Mohiniattam-the dance of the enchantress 22
b) Mohini-the myth  
c) Mohini-the danseuse  
2 Kerala-Land of Mohiniattam 27
3 Sringara-the essence of Mohiniattam 30
4 Historical background of dance in India-A glimpse 35
5 Kerala-Origin, people and social system 41
6 Bhagawathi worship in Kerala 43
7 Devadasis of Kerala 46
8 Literary evidence of Mohiniattam in Kerala 51
9 Architecture, Sculpture & Paintings in Kerala 55
10 Mohiniattam-D3ecline & revival 60
  Mahakavi Vallathol Narayana Menon 62
11 My teacher-Kalamandalam Kalyanikutty Amma 66
  List of old Mohiniattam dancers & Nattuvanars 71
12 Music 72
a) Musical tradition of Kerala  
b) Maharaja Swathi Thirunal 77
c) lrayimman Thampi 80
13 Technique of Mohiniattam 82
a) Comparative study with Kathakali and Bharata Natyam 84
b) Folk arts of kerala 90
14 Repertoire 92
15 Costume & Jewellery 103
  Section Two  
1 Narayaneeyam 108
2 Swamiye Saranam Ayyappa 120
3 Magdalana Mariam 128
4 Karuna 134
5 Krishna Leela 141
6 Nritya Swara Manjari 146
7 Shiva Maanasa Pooja 153
8 The Dancing Nataraja 155
9 The Dance of Shivshakti 157
10 Prakruti Nrityam 159
11 Geeta Govinda 164
12 Sringara Mohini 176
  Glossary  
  Bibliography  
  "Mohinattam-the dance of the enchantress"  
  What the Press says  

 

Sample Pages










Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Mohiniattam Adavus and Mudras
Item Code: NAL097
$40.00
Add to Cart
Buy Now
Mohiniattam (The Lyrical Dance of Kerala)
by Dr+Kalamandalam+Radhika
Paperback (Edition: 2004)
Mathurbhumi Books
Item Code: IHJ082
$19.00
Add to Cart
Buy Now
Mudra
by Dr. Kalamandalam Radhika
Paperback (Edition: 2010)
Mathrubhumi
Item Code: NAD644
$12.50
Add to Cart
Buy Now
Vanishing Temple Arts (Temples of Kerala and Kanyaakumaari District)
by Deepti Omchery Bhalla
Hardcover (Edition: 2006)
Shubhi Publications
Item Code: IHJ097
$65.00
Add to Cart
Buy Now
Indian Classical Dance: The Renaissance and Beyond
by Leela Venkataraman
Hardcover (Edition: 2015)
Niyogi Books
Item Code: NAJ993
$75.00
Add to Cart
Buy Now
Incredible India: Classical Dances
Item Code: IDI801
$37.50
Add to Cart
Buy Now
Treasure of Indian Music
Item Code: NAL726
$40.00
Add to Cart
Buy Now
Let’s know Dances of India
Deal 10% Off
by Aakriti Sinha
Hardcover (Edition: 2006)
Indian Book Shelf
Item Code: IDL112
$25.00$22.50
You save: $2.50 (10%)
Add to Cart
Buy Now
Kathakali The Dance-Theatre
Item Code: IDH467
$27.50
Add to Cart
Buy Now
Classical Dances and Costumes of India
Item Code: NAK548
$55.00
Add to Cart
Buy Now

Testimonials

Thank you so much. I have received Krishna statue. Excellent art work and beautiful as I expected. Certainly I will recommend and plan to visit your store when I am coming to India.
Kannan, Canada.
STATUE RECEIVED. EXCELLENT STATUE AND EXCELLENT SERVICE.
Charles, London
To my astonishment and joy, your book arrived (quicker than the speed of light) today with no further adoo concerning customs. I am very pleased and grateful.
Christine, the Netherlands
You have excellent books!!
Jorge, USA.
You have a very interesting collection of books. Great job! And the ordering is easy and the books are not expensive. Great!
Ketil, Norway
I just wanted to thank you for being so helpful and wonderful to work with. My artwork arrived exquisitely framed, and I am anxious to get it up on the walls of my house. I am truly grateful to have discovered your website. All of the items I’ve received have been truly lovely.
Katherine, USA
I have received yesterday a parcel with the ordered books. Thanks for the fast delivery through DHL! I will surely order for other books in the future.
Ravindra, the Netherlands
My order has been delivered today. Thanks for your excellent customer services. I really appreciate that. I hope to see you again. Good luck.
Ankush, Australia
I just love shopping with Exotic India.
Delia, USA.
Fantastic products, fantastic service, something for every budget.
LB, United Kingdom
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India