HINDUSTANI

CARNATIC

Mohiniyattam, for me , epitomises the best exposition of lasya. With its gentle pace and rhythm, and the swaying movement, it recreates the gentle landscape of Kerala, the beautiful land of its birth. Through its rhythmic patterns, dressing style and unique features , Mohiniyattam is truly distinct and different from other dance forms of South India, and has become justly famous the world over.

I have been lucky to have been trained extensively in Bharatanatyam, Kuchipudi and Kathakali at the feet of renowned masters such as Adyar Lakshmanan, Vempatti Chinnasatyam and Vembayam Appukkuttan Pillay

Mohiniyattam, for me , epitomises the best exposition of lasya. With its gentle pace and rhythm, and the swaying movement, it recreates the gentle landscape of Kerala, the beautiful land of its birth. Through its rhythmic patterns, dressing style and unique features , Mohiniyattam is truly distinct and different from other dance forms of South India, and has become justly famous the world over.

I have been lucky to have been trained extensively in Bharatanatyam, Kuchipudi and Kathakali at the feet of renowned masters such as Adyar Lakshmanan, Vempatti Chinnasatyam and Vembayam Appukkuttan Pillay. After years of dedicated and arduous study, I returned to my first love, Mohiniyattam. This involved another period of rigorous training under Kalamandalam Kshemavathi and Kalamandalam Sugandhi. I also conducted extensive research in Mohiniyattam, thanks to the fellowship awarded by the Department of Culture, Government of India.

My quest for a firm academic foundation took me to Rabindra Bharati University, where I became the first South Indian to receive a PhD in dance. My understanding of the four classical dance forms was deepened by my topic of research – ‘Lasya and Tandava in South Indian Classical Dance Forms’

I was recently awarded a post doctoral research Fellowship from the AHRB Research Centre for Cross Cultural Music and Dance Performance, University of Surrey, UK on the theme: Post Colonial Identity Construction. The study explores the evolution of the protagonist, or ‘Nayika’ from the colonial period, to its present form in the post colonial context.

As a teacher, it has been a satisfying decade for me. "Bharatanjali", set up in 1995, continues to attract discerning students. "Sougandhika", begun in Chennai in 2003, is already carving a niche for itself in the demanding artistic horizon of Chennai.

Through my productions, I aim to deepen the repertoire of Mohiniyattam, making my small contribution to the dance form. Through my group works, I try to bring to life themes that are contemporary and relevant, using the classical idiom.

Dance, to me, is a passion, a celebration and a tapasya.

Visit: www.neenaprasad.com

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