Mohiniyattam

The Devadasi dance tradition which developed through the temple danseuses is an important form among the dance patterns of India . Mohiniyattam in Kerala took shape in the tradition of Devadasi dance which later grew and developed a classical status.

The special style of dancing developed by the Devadasis in Kerala was originally called 'Teviticci Attam'. Devadasis in Kerala were known by the general name 'Teviticci' which literally means - woman who serves at the feet of God

(Teviticci = Tevar + Ati + Acci; Tevar = God, Ati = feet; Acci = woman). Their dance was called 'Teviticci - Attam' (Attam = Dance). This later came to be known as Mohiniyattam by about 16th century AD. The word 'Mohini' literally means a maiden who excites desire or steals the heart of the on looker. It is a solo female dance (in a single costume ) in which the striking features is the musical melody and rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the body movement. The dance is focused essentially on feminine moods and emotions.

There is the well known Puranic story of Lord Vishnu taking on the guise of a 'Mohini' to enthrall people both in connection with the churning of the milk-ocean and with the episode of the slaying of Bhasmasura. In the Bhasmasura story, 'Mohini' towards the end of her dance, persuaded the Asura to place his own finger on his head unwittingly to his own undoing. This episode seems to be picturesquely represented in the first item of the Mohiniyatam called 'Colkkettu' which begins with a pose of the dancer showing with her right hand, the murder of 'Suchimukha' with her first finger pointing to her own head. So Vaishnava devotees could have given the name of Mohiniyattam to this art form.

'Colkkettu' was also considered to be a dance pattern sacred to Lord Shiva. There is a sloka in praise of Siva towards the end of the text used for 'colkkettu' in Mohiniyattam.

Mohiniattam is a semi-classical dance form of Kerala. It is essentially a solo dance, perfomed by women. The word Mohini means a maiden who steals the heart of the onlooker. It is thought that Vaishnava devotees gave the name of Mohiniattam to this dance form. Legend says that Lord Vishnu took on the guise of a Mohini, the arch enchantress, to enthrall people.

Mohiniattam performances depict love and devotion to god. The hero of most performances is Lord Vishnu or Lord Krishna. Mohiniattam involves delicate footsteps and subtle expressions. The movements are graceful and the costumes are sober and attractive. Mohiniattam follows the Hastha Lakshanadeepika, a textbook for Mudras. The vocal music for Mohiniattam is classical Carnatic.

Mohiniattam has flavours of Bharata Natyam and Kathakali in it. The basic dance steps of Mohiniattam are the Adavus - Taganam, Jaganam, Dhaganam and Sammisram. Mohiniattam maintains a realistic makeup and simple dressing. The Mohiniattam costume includes a white jacket and white sari, and tresses bedecked with jasmine flowers.

Kathak

Kathak which is a major classical dance forms of North India literally means a story-teller or Kathakar. In ancient India, there were Kathakars or bards who used to recite religious and mythological tales to the accompaniment music, mime and dance. These rahapsodists and minstrels were associated with temples and shrines. Their particular dance-forms, which had its origin in simple story-telling, later came to be known as Kathak. Kathak is danced by both men and women. A Kathak dancer is not required strictly to adhere to fixed steps and stages in a fixed order. He or she can change the sequence of stages to suit his or her aptitude and style of dancing. There is a sort of contest during the performance in which the drummer plays and weaves a complex design which in turn is danced
by the dancer, specially in the item which is technically known as jagaj dikhana. It is a kind of friendly challenge and competition between the two full of innovations and improvisations. Kathak is the predominant dance of north India. This form of dance gets its name from the word "Katha" (story), since it originated from the devotional recitation of the storytellers or Kathakars who were attached to the temples. Kathak was initially performed in the temples, in praise of the Lord. With the advent of Mughals, Kathak was introduced in the King's durbar, thus moving this art from devotion to entertainment. The influence of the Mughals is evident in the costumes designed for the performance. Kathak has two major techniques. They are Nritha, meaning pure dance, and Abhinaya, meaning expressions. The predominant styles of the dance are the intricate footwork and rapid pirouettes. The typical Kathak costume resembles the Mughal miniature paintings. This form of dance is performed by both men and women.

Manipuri

Manipuri Dance is a generic name and covers all the dance-forms of the land, Manipur.

Manipuri Dance can be called a house of many mansions. There is a belief that Radha and Krishna were the original author and creator of Manipuri Dance. This Rasa -dance was repeated by Uma and Shiva in Lasya style in Manipur. After many centuries the same Rasa-dance was performed the third time by two mortal human beings, princess Toibi and Khamba. These two star-crossed lovers died in tragic circumstances. The dance than these two lovers performed is known as Lai Haraoba. There are many myths and legends which reveal the Manipuris passionate love for arts, particularly for dance, music and mime. These are woven into the very fabric of their life like a beautiful pattern.

Today Manipuri Dance has become a ruling passion and an aesthetic obsession for initiated artists and the spectators alike because of its colourful adornment, lightness of dancing foot, delicacy of abhinaya, lilting music and poetic charm.

Manipuri is the traditional dance of Manipur. The Manipuris are considered descendants of Gandarva, the legendary musicians and dancers in the celestial court of Lord Indira. The origin of the word Manipuri can be traced to the legends. According to the legend, Lord Shiva and Goddess Parvati are said to have danced in the valleys of Manipur, accompanied by the Gandharvas to the celestial light of the Mani or jewel from the head of the serpent Athishesha.

Manipuri lays emphasis in involving the entire body in the dance other than the facial expression. The principal dance item in Manipuri is Ras, which depicts bhakti rasa. The innumerable escapes of Lord Krishna are depicted in Ras. This form of dance lays emphasis on lyrical grace and delicacy of hand gestures.

The Chooloms is another form of Manipuri, which includes vigorous tandava items and fast rhythms. Choolams involves singing and dancing, directed towards achieving the union of god. In Choolams, Poong Choolam is danced by men holding drums, and Kartal Choolam by both men and women using cymbals in their hands.

Lai Haraoba is another form of Manipuri, which portrays the creation of universe. The costumes used in this form of dance are ornamental and rich in colors.

Odissi

Odissi, the essence of the state of Orissa. Orissa is the highly inspired, impassioned, ecstatic and sensuous form of dance. Odissi was performed in the temples of Orissa as a religious rite and offering by the Devadasis known as 'Maharis'. Odissi is a rich and generous cultural gift of the land, well known for its dedication to religion and arts and known in the past as 'Kalinga Desha'. The people of this land raised magnificent temples, each erected as an act of religious faith and embellished by the skills of master craftsmen, sculptures and architects. These temples became the centre of art and culture and it was here that Odissi, one of India's scintillating dance-forms

In Odissi, the technique, the style, its stages, the repertoire and the finale were almost amorphous. Today Odissi is a well established and codified classical dance form of India, a dance of love, delight and intense passion, lyrical, pure, divine and human all rolled into one.

Odissi is the traditional dance of the state of Orissa. Originally, this form of dance was performed in the temples as a religious offering, by the Devadasis. Odissi is a dance of divine, human, love and passion. The performance is soft and lyrical depicting the ambience of Orissa and the philosophy of the popular Hindu God, Lord Krishna. Most of the poses of this form of dance are inspired by the temple carvings of Orissa. The dresses worn by the dancers are similar to the sculptures. The dancers wear colorful costumes and traditional silver jewellery. Elaborate ornaments are worn specially on the hips.

Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govindam are used to depict the love and devotion to God. Odissi presents a synthesis of LasyaTandava aspects of the Indian Classical Dance. Odissi dance performance involves a balance between pure dance, expressional dance and a combination of acting and dance.

Thullal

Ottamthullal is a very popular form of classical performing arts of Kerala. The actor wears a long tape of cloth, looped around a waist-string to form a knee-length skirt. A chest-plate adorned by coloured beads, glass and various ornaments are used. Tinkling bells are tied to the legs. Ottamthullal is distinct with its presentation and frank wit and humour. This dance form is a solo dance performance. The dancer himself sings the lead to the accompaniment of instruments. The metre and rhythm of Ottamthullal songs are fast-paced. The face of the dancer is painted green, lips painted red and the eyes are emphasised with black.

Thullal is a solo performance combining the dance and recitation of stories in verse. Staged during temple festivals, the performer explicates the verses through expressive gestures. The themes are based on mythology. This satiric art form was introduced in the18th century by the renowned poet Kunchan Nambiar .

Humour, satire and social criticism are the hallmarks of Thullal. The make up, though simple, is very much akin to that of Kathakali. The Thullal dancer is supported by a singer who repeats the verses and is accompanied by an orchestra of mridangam or thoppi maddalam (percussions) and cymbals. There are three related forms of Thullal - Ottanthullal , Seethankanthullal and Parayanthullal - of which the first is the most popular. The three are distinguished by the costumes worn and the metre of the verses.
Thullal is usually performed in the premises of temples during festivals and provides for thought and entertainment to the thousands of people who gather at these events

Traditionally Nambiars (a community) are Mizhavu(a percussion instrument used in Chakyar Koothu-another performing art of Kerala) artistes. Kunchna Nambiar an ace percussionist failed to satisfy the Chakyar, on the drum to his satisfaction.(another story says that Nambiar was dosing over) Chakyar ridiculed Nambiar in the presence of audience for his shabby performance. Nambiar took a vow that he would humble Chakyar.

Crest-fallen Nambiar sneaked into his residence and prayed to Lord Krishna. He evolved a new form of story telling that night.
Next day, Nambiar took his stand next opposite to the Chakyar. Chakyar was amazed and perturbed to find Nambair in a new costume. Nambiar performed Thullal to the accompaniment of a drum and a cymbal. The audience who were listening to the Chakyar, gathered around Nambiar. The Chakyar retreated in shame. Thus Nambiar scored a victory over Chakyar. The Chakyar informed what had happened to the Maharaja and it is said that, the Maharaja banned Thullal in the Ambalapuzha Temple.
Kunchan Nambiar came to Travancore. His major works were composed while in Travancore. He was the court poet of the then Maharaja Anizham Tirunal Marthanda Varma a great patron of letters.

The works of Nambiar
The first thullal composed by Nambiar was Kalayana saugandigam- a story from Mahabharata. Here Bhima at the behest of Draupadi wanders in the forest in search of Kalyana saugandigam(a flower) and his encounters on his way. The story nay all the works of Nambiar are saturated with wit and humor. This art form had thus popular appeal to mass minds.

Performance
It is performed during day time. There is only one thullakkaran-the performer. He is assisted by two musicians and two percussionists (on the maddalam).
The thullakkaran sings and dances making appropriate gestures to explain the meaning. It begins with the invocation of Ganesa and Saraswathi. The thullalkkaran renders a few lines repeated by the drummer. The actor simultaneously interprets the meaning of the lines repeated by the drummer. No curtain is used.

The three different forms:
OTTAM, SEETHANGAN AND PARAYAN are the three forms of thullal. Ottam thullal is the most popular. It is the most vigorous form. The first two forms are overburdened with literary embellishments, and are outstanding for their beauty of sound, sweet cadence, and uncontrolled outbursts of caustic humor.