KALAMANDALAM KSHEMAVATHI-

Submitted by UMAMAHESWARI on Mon, 2007-01-15 13:27. Personalities
Mohiniyattam which was patronized by Maharaja Swati Tirunal almost 175 years ago regained its favor since its incorporation in the curriculum of Kerala Kalamandalam established by Mahakavi Vallathol. The poet managed to employ the services of Chinnammu, and Kalyanikutti Amma the exponents of Mohiniyattam.

The untiring efforts of the duo and their disciples like Kalamandalam Kshemavathi have brought out the perfect style of Lasya from the corridors of temples and palaces to auditoriums. Kshemavathi was in city recently. The dancer in an interview explains her contributions to Mohiniyattam and her new ventures.

“I joined Kalamandalam in 1958. It was Chinnammu who taught the cholkettu two padams, and a varnam in Yadukulakambodhi. The repertoire was limited. The artistes wore half white saree, and blouse. The hair style was that of Bharatanatyam. I and Satybhama decided to set a dress code for Mohiniyattam-and that is what we see today. This dance form originated in Kerala and should our culture” said Kshemavathi.
It was Kshemavathi who tried the present hair style on Kalamandalam Sugandi. It is a large chignon on top of the head but to one side is decorated with a circlet of Jasmine. This elegant knot matched with the archaic costumes and jewelry suitably.
Her attempts to deviate from tradition are always subjected to criticism. She has choreographed gazals like “Jab raat kee thanhwa..” I was concerned about the audience reactions. I think if you present gazals through Mohiniyattam in north India, it would have greater impact. Any verse embellished with visual details, can be used for Mohiniyattam she opined. She had set a precedence for the future generations to experiment boldly.
The unique technique of Mohiniyattam lies between the Dasiyattam and the Lasya aspect of Kathakali. Most of the songs deal with situations with love.

They are conveyed with the gesture of the eyes and the hands, expressions of the face and body poses.
The padams are soaked in Madhurabhakti. The heroine describes the torment and anguish she suffers as a result of her devotion to the Lord. Sometimes it deals with the confession of her love to her sakhi.
The Mohiniyattam padams are slow as it is exclusively abhinaya interpetting in detail, the words of a song through expressions and gestures. The phrases are repeated many times in order to interpret every shade of the meaning. The greater the understanding of the dancer, the richer the color she is able to give it any phrase.

Visual portrayal of Omana thingal kidavo and kuchelavrutham are her master pieces. She has choreographed Karuna, Meghadootham, and Ashtapadi.
She has formulated steps and adavus of Mohiniyattam and would like to produce a visual document of this art form for posterity.
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