Popular belief is that Kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Ignoring the first phase when it was Ramanattam, Kathakali had its cradle in Vettattnad. Here Vettathu Thampuran, Kottayathu Thampuran and many dedicated artists like Chathu Panicker laid foundations for what is known as Kathakali now. Their efforts were concentrated on the rituals, classical details and scriptural perfection. Kottayathu Thampuran composed four great works -- Kirmeeravadham, Bakavadham, Nivathakavacha Kalakeyavadham and Kalyanasaugandhikam. After this the most important changes in Kathakali were brought about through the efforts of a single person namely, Kaplingad Narayanan Nambudiri (1739–1789). He was from the Northern Kerala, but after basic instructions in various faculties of the art in Vettathu Kalari he shifted to Travancore. In the capital and many other centres he found many willing to co-operate with him in bringing about the reformations.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called [[]]), has also helped the literature of Kathakali sound more transparent for the average audience.
Mohiniyattam
Mohiniyattam was popularized as a popular dance form in the
nineteenth century by Swathi Thirunal, the Maharaja of the state of Travancore (Southern Kerala), and Vadivelu, one
of the Thanjavur
Quartet. Swathi Thirunal promoted the study of Mohiniyattam during his
reign, and is credited with the composition of many music arrangements and
vocal accompaniments that provide musical background for modern Mohiniyattam
dancers. The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school in 1930, played an
important role in popularizing Mohiniattam in the 20th century.
The term Mohiniyattam comes from the words "Mohini"
meaning a woman who enchants onlookers and "aattam" meaning graceful
and sensuous body movements. The word "Mohiniyattam" literally means "dance of the
enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he
appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained
during the churning of the palazhi (ocean of milk and salt water).
In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura.
The name Mohiniyattam may have been coined after Lord Vishnu; the main theme of
the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to
perform this in temples. It also has elements of Koothu and Kottiyattom.
Mohiniyattam is a drama in dance and verse.
The dance involves the swaying of broad hips and the gentle movements of erect
posture from side to side.
This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of
Mohiniyattam. There are approximately 40 basic movements, known as atavukal.
The three pillars — Sri Swathi Thirunal Rama Varma, Sri Vallathol Narayana Menon (a poet and founder of the
institution, Kerala Kalamandalam) and Smt. Kalamandalam Kalyanikutty Amma (considered “the mother of
Mohiniyattam”) — contributed to the shaping out of the contemporary
Mohiniyattam during the later part of the 20th century. Guru Kallyanikutty Amma
cleared the mythical mystery behind the name of this dance form and gave it the
most convincing explanation based on truth, social and historical evolution,
interpreting Mohiniyattam as the dance of a beautiful lady than that of a
mythical enchantress from heaven.
The costume includes white sari embroidered with bright golden brocade
(known as kasavu) at the edges. The dance follows the classical text of Hastha
Lakshanadeepika, which has elaborate description of mudras(gestural
expressions by the hand palm and fingers).
The vocal music of Mohiniyattam involves variations in
rhythmic structure known as chollu.
The lyrics are in Manipravalam,
a mixture of Sanskrit and Malayalam.
The Mohiniyattam dance is performed to this accompaniment by the subtle
gestures and footwork of the danseuse. The performer uses the eyes in a very
coy, sensual manner to enchant the mind without enticing the senses.
Theyyam
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