Date: 21.12.2024 – Saturday – 9.05 – 9.50 a.m.

Speaker : Dr Neena Prasad

Title : Evocative Expressions of Mohiniyattam using Karnatik Music

Abstract :

Karnatik music, the rich and vibrant musical tradition of South India, shaped by the patronage of the Vijayanagara empire, is undoubtedly one of the most refined and precise systems in world music. With a history dating back several centuries, Karnatik music, has an intricately and scientifically evolved raga (melody) – tala (rhythm) system capable of evoking profound emotions in the listener. Vast as an ocean in its expanse and depth, only a small part of its scope has come into practical use. Sangeeta katcheris (concerts), classical dance and film are the three spaces where Karnatik music thrives in its current form. 

Sangeeta kutcheris almost entirely tend to focus on compositions that highlight the bhakti aspect of the music. Compositions like padams and javalis that bring about the exposition of other bhavas like viraham (pain in separation), karuna (pity/compassion) and vatsalyam (parental love) are more often reserved for the tail end of the concert, if at all. Cinema on the other hand has successfully explored a myriad of emotions using Karnatik music, however, its rendition and application has been watered down to make it more appealing to the masses. Karnatik music application in classical dance is the only space that maintains authenticity of form while allowing for extensive exploration of bhava. Mohiniyattam in particular, is a form that fully explores the possibilities of Karnatik music in nritta, nritya and natya. 

Karnatik music was introduced as the soul language of Mohiniyattam by Swati Thirunal in the 19th century. Although there is a parallel school of thought that favours the application of Kerala’s native music Sopana Sangeetham, during the
revival of the form in the 1930s in Kalamandalam under the aegis of Mahakavi Vallathol, Karnatik music was preferred as the supporting music for Mohiniyattam. This was a far-sighted decision of the early practitioners of this artform including Kalamandalam Kalyanikuttyamma and Kalamandalam Sathyabhama. Choosing Karnatik music, a scientific system with unshakable fundamentals, clearly established prayogas and immense scope for innovation, has helped Mohiniyattam grow and earn an independent strength of its own as a classical dance form that can proudly stand alongside the other dance forms of India. 

The Mohiniyattam I believe in and chose to develop over the last three decades with the support of distinguished vocalist and musician Changanasherry Madhavan Nampoothiri, has also relied purely on the Karnatik Music system. Through this demonstration, we will illustrate how Karnatik music supports the flowering of evocative expressions in the nritta and abhinaya of Mohiniyattam.