Sopana Sangeetham or Carnatic Music? The dancers insist that it should be a mixture of both.
Before its revival in Kerala Kalamandalam by its founder, poet-laureate Vallathol Narayana Menon, the true identity of Mohiniyattam has been the subject of endless debates and discussions, much of it centered around the stylistic features and repertoire of the dance form. But its music, both vocal and instrumental, never got the attention it deserved. It was the poet, playwright and renowned theater director Kavalam Narayan Panikkar who spoke out against the musical practices prevalent in Mohiniyattam since the days of Maharaja Swathi Tirunal, pointing out the apparent discrepancies between the movements and the music.
The criticism of Kavalam was, for the most part, directed towards the musical system of Mohiniyattam followed in Kalamandalam. Broadly based on the classical music format, the choreography of all the pieces in it Lasya The dance tradition corresponds to the raga, taal and gati of Carnatic music.
Pros and Cons
Kalamandalam Kshemavati, the flag bearer of Kalamandalam School of Kalamandalam Mohiniyattam, says, “I am completely comfortable Adavas learned at Kalamandalam; They are in line with the Carnatic system prescribed for Mohiniyattam by the then masters. Since I am aware of that system, I am not inclined to make any significant changes to it in my own choreography. I have danced ‘thathi’ and ‘jeeva’, two distinctive pieces set by Kavalam to the sopna style of music – the raga and tala suggested by him are best suited for padam.”
According to renowned dancer Neena Prasad, “If Mohiniyattam is not to be branded as a regional dance, its music must be systematic and varied. The structure of Carnatic music serves these dual purposes. When speaking of Varnam in Mohiniyattam When it comes to Carnatic music, the outline of Carnatic music assures ample space for the singer to improvise in the first half, while in the latter half, he can close his music. hero–Bhavsi.
Changanassery Madhavan Namboodiri, who has been the vocalist for Neena’s performances for many years, does not consider it unreasonable to choose Carnatic music for Mohiniyattam. “Vocal music for Kathakali and Bharatanatyam is directly influenced by Carnatic music. So why can’t it be used for Mohiniyattam as well? Of course, the singer had to exercise discretion in selecting ragas and tempos and applying brigade Niraval should not disregard the meaning of the song,” she says.
When Kavalam argued in favor of sopana sangeetam (traditionally sung in temples), native Mohiniyattam dancers ignored his suggestion. However, two dancers from outside the state, Bharati Shivaji and Kanaka Rale, supported him unreservedly.
“It was Kavalam who introduced me to the music of Njeralatha Rama Poduval,” says Bharti. “I was immediately impressed by his rendition of the Ashtapadi, ‘Chandanacharchitha’ in the Pantuvarali raga. There was something unique to it. Later, I heard Janardhan Nedungadi singing the various Ashtapadis at the Guruvayur temple. I thought that the Aviral Gamak of Sopana Sangeetam was my The aesthetics were best suited for the vision and presentation of Mohiniyattam.”
sentimental presentation
Girisan, who graduated in Kathakali Vocal Music from Kalamandalam, has been singing for Kanaka Relay’s Mohiniyattam performances. “Intensive training in vocal music has helped me sing in line with the principles of bhavasangitham (expressive music) Produced by Kavalam sir. i found vatharis (vocal singing of syllables in a rhythmic pattern), such as chenda, madalam and edakka, such as chenda, madalam and edakka, which he interpolated in his compositions, to achieve great harmony with the gamakas. He insisted on avoiding briggs and fast tempo in Mohiniyattam compositions. His interpretation of the meaning of the song in relation to Bhavsi has enriched my knowledge of our musical heritage.”
Renowned Mohiniyattam dancer Mithil Devika says the blend of Carnatic music and the ‘native’ tradition of Sopana Sangeetham has helped her retain the indigenous aroma in her singing. “Except for varnam, I perform for almost all objects, I use sopana style of music and percussion instruments of Kerala like madalam, edakka and mizhavu. Dancer’s discretion matters here. Choreographed to 16 beats A piece can be extended to 32 beats, similar to the execution of A. vilambkal padam (slow padam) in Kathakali. There is no need for any change in the raga-tala structure in the Navavaran works of Dixit. I have often felt that the stature of Mohiniyattam cannot be increased by blindly resorting to ‘native’ practices in music,” says Devika.
While these diverse approaches may have colored the music of the dance form, Mohiniyattam artists are still confused as to which style to choose. Those opting for Carnatic music are criticized by purists, while dancers who use sopana sangeetam have to think of ways to keep their choreography from getting tiring due to the repetition of musical phrases, talas, vaithari and tempo .
The author is a critic and connoisseur of the traditional arts of Kerala.
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