Mohiniyattam researcher Amith K's ‘Tribute to Chinnammu Amma' recital seeks to stir conversations on 'class' and the classical
For decades, Mohiniyattam has been presented through a 'classical' lens — polished, codified, and Brahminised. And all the while, it has often obscured the realities of those who shaped its earlier iterations.
Mohiniyattam dancer, choreographer and researcher Amith K always felt that gap, especially while looking back to trace the beginnings of this art form. A PhD graduate from Sree Sankaracharya University of Sanskrit, Kalady, Amith has always been interested in exploring the nuanced intersections of caste, culture, gender, and history within Kerala's performing arts.
His latest project ventures deeper, into the forgotten lineage of women practitioners whose contributions have been sidelined or erased in dominant narratives.
'When I started focusing on the women practitioners in Kerala, I realised how many gaps exist in Mohiniyattam's recorded history,' Amith explains. 'Even at Kerala Kalamandalam, where the form was institutionalised, the stories we hear about early Mohiniyattam are vague at best. Nobody talks about who the women dancers really were or why their names disappeared.'
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New Indian Express
3 days ago
- New Indian Express
Mohiniyattam researcher Amith K's ‘Tribute to Chinnammu Amma' recital seeks to stir conversations on 'class' and the classical
For decades, Mohiniyattam has been presented through a 'classical' lens — polished, codified, and Brahminised. And all the while, it has often obscured the realities of those who shaped its earlier iterations. Mohiniyattam dancer, choreographer and researcher Amith K always felt that gap, especially while looking back to trace the beginnings of this art form. A PhD graduate from Sree Sankaracharya University of Sanskrit, Kalady, Amith has always been interested in exploring the nuanced intersections of caste, culture, gender, and history within Kerala's performing arts. His latest project ventures deeper, into the forgotten lineage of women practitioners whose contributions have been sidelined or erased in dominant narratives. 'When I started focusing on the women practitioners in Kerala, I realised how many gaps exist in Mohiniyattam's recorded history,' Amith explains. 'Even at Kerala Kalamandalam, where the form was institutionalised, the stories we hear about early Mohiniyattam are vague at best. Nobody talks about who the women dancers really were or why their names disappeared.'
Indian Express
4 days ago
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How Delhi celebrated Odisha's most-famous dance festival, Barabati Nrutyotsaba
Written by Swayamshree Satyam Sethi The Stein Auditorium at India Habitat Centre, New Delhi, resounded with the echo of ghungroos and soulful music as Geeta Mahalik and her troupe presented 'Dashavatar' – the 10 incarnation of Vishnu through an Odissi performance. This was at the 25th edition of Barabati Nrutyotsaba held on June 18. This is the second time that the dance festival was celebrated in Delhi, bringing the ethnicity of Odisha to the Capital. Organised by Cuttack based cultural organization, the silver jubilee celebration featured Odissi and Mohiniyattam. The performers included Guru Jayaprabha Menon and group (Mohiniyattam); Guru Sasmita Panda and Rupa Pal (Odissi duet) and Odissi Nrutya Mandal. Founded 25 years ago in Cuttack, Barabati Nrutyotsaba is one of Odisha's most prestigious classical dance festivals. Envisioned not just as a performance platform but also a cultural movement, it promotes the classical traditions of Odisha, especially the Odissi dance form. 'This platform is very close to my heart as it gives us, especially dancers from Odisha, an opportunity to connect with audiences beyond our region,' says Mahalik. The festival gets its name from the 10th Century Barabati Fort in Cuttack, served as a strategic millitary structure for various dynasties. 'As Odias, we know the emotional and cultural importance and significance of Barabati,' says Mahalik, 'It is a landmark of Odisha's identity and glory and hence the festival got its name.' 'There was a time when Odissi wasn't well known outside the state, but today it is recognised even abroad. When I performed at the Festival of India in Russia in 2019, there were people standing outside the auditorium because it was a full house. After every performance, our troupe got standing ovations. It was a proud moment for every Odia as well as Indian,' says Mahalik. As the mardala's final beat echoed for the last performance of the evening, the audience rose in applause. It was clear that Barabati Nrutyotsaba had not only celebrated its past but had also leaped into the future. 'Such events are crucial in cities like Delhi, because it highlights regional art forms. They give dancers a platform and the audience have a chance to know about India's diverse traditions,' says Mahalik. Swayamshree Satyam Sethi is an intern at The Indian Express
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14-06-2025
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Sanskrit varsity to publish rank list on June 16
The rank list for admission to the four-year undergraduate and diploma programmes of Sree Sankaracharya University of Sanskrit, Kalady, will be published on Monday (June 16, 2025). Interviews for undergraduate programmes in Sanskrit, Music, Dance, and Fine Arts will be held from June 21 to 24. Classes will commence on July 1, according to a release.
