Is Mohiniyattam another version of ‘Dasiyattam’
No. actually Dasiyattam was not prevailing in Kerala. We just have a reference made by poet Ulloor that attracted to the Dasiyattam prevailed in neighboring provinces, Karthika Thirunal Maharaja asked Karuthedath Chomathiri to develop and propagate Dasiyatam as Mohiniyatam. But afterwards we lost everything, the details of such an art form existed became very rare. The form that we see now is purely formed during the time of Mukundaraja and Vallathol. Eminence like Kalamandalam Satyabhama and her contemporaries tried hard to collect all the possible details and make it in the present format. They made it a point to see that Mohiniyattam should not reflect any tint of Bharathanatyam or Kuchipudi.

What could be the reason for a practice of starting the classical dance classes for a new student with Bharathanatyam, even if she wants to learn Mohiniyatam?
To answer this we have to go in the history of these dance forms. There was a time when Bharathanatyam was most prominent dance form all over south India. Unlike Mohiniyattam it has a strong base with fixed repertoire for the Kalari and Stage. Even at Kalamandalam, Bharathanatyam was the main item compared to other two dance forms. All considered it to be good to start with Bharathanatyam to have a strong base for the student on ‘Chuvadu’ and ‘Thaalam’. But now the system is slowly changing. At my Kalari am having students who come to learn only Mohiniyattam out of passion for it.

How you go about the experimental choreographies like ‘Karukare kaarmukil’ when always there is a risk of acceptance when you think different from the traditional frame?
Actually it was not an experiment for me. Hearing the song for the first time in a TV show, I was literally fallen in love with it and severely wanted it to be done in Mohiniyattam. The picture came to my mind hearing the song was that of a peacock and that was for the first time someone tried in Mohiniyattam a peacock as the central character. Immediately we bought the cassette of that song by Kavalam Sreekumar and the item was a big success accompanied by few criticisms.

How come the folk element came into your choreographed items including ‘poothapaattu’? Was it a purposeful blend of classical and folk?
What is classical? Is that something ambiguous to all? According to me any classical form should be beyond the language and region. If it is simple and clear, that is classical for me. I consider myself successful only when I get the attention of each of the audience with or without the subject knowledge. By introducing such simple themes into the framework of Mohiniyattam I attain my goal. The classicalism can be shown in Mudras, Adavu and even the style. In between such interesting items when we perform the pure classical ones, the audience will be automatically learning. To excel as a performer one needs dedication, vast reading and love for our literature.

Do you think the slow pace of Mohiniyattam music has a negative effect on its popularity?
When I choreograph an item, I do it as how I want to see it as an audient. I overcame this problem of slow pace by introducing 4th speed to the feet movements at the same time maintaining 1st speed for the body and hand movements. This blends well but need more practice. This gives me an opportunity to utilize the whole stage area within the limitation of the slow pace music. Finding the limitations and utilizing it in a positive manner gives opportunity for Mohiniyattam to develop.

How come you fell in love with Mohiniyattam?
By the influence of my father Shri. P.Narendranath, a prominent writer in Malayalam, I had an ardent love for Malayalam literature and thereby to Mohiniyattam which stood close to Kerala and its culture. My literary works are confined to the dance related. I think I am better in writing through dance, through my choreographies. Attitude makes man fall in love for any art form. For me this is not less than any offering to God.

What could be the future of Mohiniyattam?
Mohiniyattam has to travel a lot. This is an art form with lots of possibilities to be explored. Responsibilities lies in the hands of performers as well as the audience. Only through more performances Mohiniyattam can grow and it is on the part of audience to make an effort to understand rather than just avoiding it. According to me, when we have other options to learn Bharathanatyam and Kuchipudi, Kalamandalam should concentrate only on Mohiniyattam among the three. At least a separate stage should be given for the Mohiniyattam students.
Revision is needed in many aspects of Mohiniyattam. The repertoire for Mohiniyattam which is now the same as that of Bharathanatyam should be revised suiting Mohiniyattam. Similar is the case with costume. Now the communication with the audience is limited till the upper part of the body. The audience are complete unaware of the beauty of feet movements. Apart from that a dance costume should be comfortable for the performer to concentrate fully on the performance. Being conscience about the dress can affect the performance. Moreover the dress should complement the circular movement of the body which is unique for Mohiniyattam. With all this in mind I have collected the opinion of many eminence in this filed and into the designing of a suitable costume for Mohiniyattam. Not that we should completely avoid the traditional ones, but it is time to think of a second option. Again the question of acceptance is in air. But I am leaving it for time to resolve the problem.

What will be your message to our kids?
Learn our language Malayalam in-depth, read a lot, exploit the literature treasure of Kerala. English is also needed, but the prime importance should be always mother tongue. Then only you can enjoy the text of Mohiniyattam and develop a passion for the dance forms instead of taking it as a spoon fed item.

Thank you Madam to be with us and all the very best for your future endeavors

Reshmy Krishnakumar - A statistician by profession, she is working with Kuwait Institute for Scientific Research (KISR). Having done her post-graduation in Statistics, she worked as lecturer at St.Teresa's College, Ernakulam, until her relocation to Kuwait. As a freelance writer, she is contributing to various magazines, blogs, and websites. Her passion includes writing poetry in Malayalam and Hindi.