Mohiniyattam

Mohiniyattam is an Indian classical dance form that evolved in the state of Kerala, and is one of the two popular dance arts of the state, the other being Kathakali. Mohiniyattam roots date back to the age-old Sanskrit Hindu text ‘Natya Shastra’. The text describes the basic elements and the structure of two types of dance: the vigorous, high energy Taṇḍavam dance (Shiva) and the gentle, feminine form of dancing and calmingly graceful Lasya dance (Parvathi, Shiva's lover). Mohiniyattam follows the structure and aims of the Lasya dance in Natya Shastra.

Mohiniyattam, also referred to as Mohini-attam, is derived from "Mohini" – a famous female avatar of the Hindu god Vishnu in Indian mythology. Conventionally a solo dance performed by female artists, it emotes a play through dancing and singing where the song is customarily in Manipravala which is a mix of Sanskrit and Malayalam language and the recitation may be either performed by the dancer herself or by a vocalist with the music style being Carnatic.

Kathakali – Music and instruments

Music is an essential element of Kathakali. The language of the songs used for Kathakali is Manipravalam, a blend of Sanskrit with the local language, Malayalam. Even though the songs are set for “ragas” based on Carnatic music, there is a distinct style of rendition, known as the “sopanam” style, incorporating the moods of temple songs that were sung at the time when Kathakali was evolving. Sopanam has a very slow tempo and is free of embellishments, giving the actors complete freedom to exercise their art of expression.

A Kathakali orchestra is composed of a lead vocalist (“ponnani”) keeping time with a resounding gong made of bell metal (chegala), which can be struck with a wooden stick; and a minor vocalist (“singidi”) with a pair of clanking cymbals (elethalam); a chenda (cylindrical drum with a loud but sweet sound) player and maddalam player. Sometimes a percussion instrument known as an edakka is also used.

Kathakali

Kathakali is one of the Indian classical dance. The word Kathakali means "Story-Play".  Kathakali is an ancient and traditional dance form of Kerala which is distinguished by its elaborately colorful make-up, costumes and face masks wearing actor-dancers. Kathakali has a unique combination of literature, music, painting, acting and dance. Kathakali is based on religious themes. They play is mostly based on the two epics 'Ramayana' and 'Mahabharata'. Popular belief is that Kathakali is emerged from "Krishananattam", the dance drama on the life and activities of Lord Krishna. Kathakali is a combination of five forms of fine art like Natyam (Acting or Expressions), Nritham (Ritual Dance), Nrithyam (Enactment), Sangeetham (Music), Vadyam (Instrument accompaniment).

There are about 101 Kathakali stories. Important stories enacted in Kathakali are 'Nala Charitham' (Story from Mahabharatham about King Nala and his wife Damayanthi), 'Duryodhana Vadham' (Another story from Mahabharata about the killing of Duryodhana by the Pandava brother Bhima in Kurukshetra), 'Kalyanasowgandhikam' (Bheema's encounter with Hanuman when the former set out in search for the flower Kalyanasaugandhikam for his wife Draupadi), 'Keechaka Vadham'(Story of the killing of Keechaka by Bhima when the Panadavas were in disguise), 'Kiratham' (Story of Arjuna and Lord Shiva's fight),  and 'Karna Shapadham' (story of Karna from Mahabharata).

Few Famous Bharatanatyam dancers

Rukmini Devi

Balasarswati

Meenakshi Sundaram Pillai

Padma Subramanyam

Alarmel Valli

Yamini Krishnamurthy

Anita Ratnam

Mallika Sarabhai

Mrinalini Sarabhai

YOGA AND BHARATANATYAM

The common factor in the practice of yoga and Bharatanatyam, is the fact that both need to concentrate on the chakras of the body. The chakras lie on the central line of the body that demarcates the left and the right parts of the body (bilateral symmetry). The araimandi stance helps to get a hold of the vertical line on which the chakras lie. The araimandi as the yantra or medium for perceiving pure consciousness is explained in detail by Mohiniattam Guru Mandakini Trivedi in her book “The Yoga of Indian Dance”.

Yoga states that the fingers of our hand represent the ‘Pancha Mahabhutas’ or the 5 elements. Touching one finger with others in different combinations creates circuits in our body through which energy flows. Such a flow of energy allows the body to gain better circulation of blood, indirectly formulating long-term health benefits. The ‘Mayura Hasta’ is similar to the ‘Prithvi Mudra’ in yoga improves the complexion of skin and helps to increase weight. The ‘Trishula Hasta’ matches with ‘Varun Mudra’ is claimed to balance the water content in body and prevent pain due to inflammation or shrinkage of muscles. The ‘Simhamukha Hasta’ is similar to the ‘Apana Mudra’ which regulates diabetes and helps to cure constipation and piles. The ‘Hamsasya hasta’ is similar to ‘Gyan mudra’ increases the memory power, enhances concentration and prevents insomnia.

Bharatanatyam - Hastha mudras

In Bharatanatyam, the whole body is used to express and reach out to the audience. The gestures using one or two hands are an important part of this expression. Hand gestures are divided into two categories:

• Asamyukta Hasta
• Samyukta Hasta

Asamyukta Hasta:

It is done using single hand. They are 32 in number. They are named as Pataaka, Tripataaka, Ardhapataaka, Kartarimukha, Mayura, Ardhachandra, Araala, Shukatunda, Mushthi, Shikhara, Kapitta, Katakaamukha, Suchi, Chandrakalaa, Padmakosha, Sarpashirsha, Mrigashirsha, Simhamukha, Kangula, Alapadma, Chatura, Bhramara, Hamsaasye, Hansapakshika, Sandamsha, Mukula, Tamrachuda, Trishula, Ardhasuchi, Vyaagraha, Palli, Katakaa.

Samyukta Hasta:

It is both hand gestures. They are 24 in number. Anjali, Kapota, Karkata, Swastika, Dola, Pushpaputa, Utsanga, Shivalinga, Kataka-vardhana, Kartari-swastika, Shakata, Shankha, Chakra, Pasha, Kilaka, Samputa, Matsya, Kurma, Varaha, Garuda, Nagabandha, Khatava, Bhairunda, Avahitta.

Bharatanatyam – Adavu and Hasthamudra

Bharatanatyam is based on the theories of the books 'Natyasaasthram' and 'Abhinaya Darpanam'. According to the Abhinaya Darpanam, the Sangitaratnakara and other medieval treatises, dance is divided into three distinct categories, that is, Natya, Nritya and Nritta. Natya corresponds to drama. Natya means dramatic representation or drama with speech, music and dancing. Nritya corresponds to the mime performed to the song. That is in other words, it is the Interpretative dance. The dance which relates to Sentiment (rasa) and Psychological Staes (bhaava) is called nritya. 

The dance form is based on 'Adavu' (steps) and 'Hasthamudra' (hand gestures). There are 64 basic 'Adavu' and they are divided into 9 parts, on which 'Tatta adavu'(Tap), 'Naata adavu'(Perching on heels), 'Kuddichu mett adavu'(jump and beat), 'Mandi adavu'(sit), 'Sarukkal'(slide) and Tiramana Adavu(Finishing) are very important. Communication is done through 'bhavabhinaya' (facial expression) and 'hasthamudra' (hand gestures). The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin.

The performance starts with the prayers to God Ganapathi and worship of Nataraja Moorthi. The sequence of the dance performance is 'Alarippu'(invocation), 'Jathiswaram'(note combinations), 'Shabdam'(notes and lyrics), 'Varnam'(a combination of pure dance and abhinaya), 'Padam'(all erotic) and 'Thillana'(again pure dance). After 'Thillana', with a 'Mangala Slokam' the dance program ends. Normally the performance lasts for two to two and half hours.