Pallavi Krishnan is a leading exponent of Mohiniyattamavi Krishna

INTERVIEW

Pallavi Krishnan is a leading exponent of Mohiniyattam and an alumnus of both Santiniketan (Viswa Bharati University) and Kerala Kalamandalam who is well known for her tremendous efforts to promote and preserve the style of Indian classical dance as a living tradition. She is the Artistic Director of Lasya Akademi of Mohiniyattam, a centre for the promotion and professional training in Mohiniyattam, at Thrissur with a branch in Kolkata (West Bengal). She is more interested in experimentation by fusing the distinct strains of cultural entities that form the rich composition of our cultural heritage and successfully choreographed many items, both traditional and thematic.




Pallavi Krishnan talks to Sreeni K.R about her love with the enchanting art form, the vision and plans of Mohiniyattam.

1] When you seriously took Mohiniyattam as your carrier?
During my childhood days at the age of 3 once I visited Santiniketan with my parents. In Santiniketan I have seen various traditional dance forms. From the day onwards I had drawn towards traditional dance forms. After completing graduate in Bio Science from Burdwan University of West Bengal I joint Santiniketan for B.A course in dance. It was 4 year course. As Mohiniyattam was not in the syllabus I learned it from Guru Kalamandalam Sankaranarayanan. Gradually I had drawn towards Mohiniyattam. After my degree from Santiniketan I took the permission of my parents and joint Kalamandalam for another 2 years course under the guidance of Guru Kalamandalam Sankaranarayanan. Here I got a real exposure and an opportunity to learn Mohiniyattam from very senior and experience teachers.

Then I got married to K.G Gopalakrishanan, an employee with State Bank of India, Thrissur. He was a great source of inspiration and good critics too. He is also a good writer on kerala arts and culture. After that I settled in Thrissur and learned Mohinyattam under Guru Bharthi Shivaji. The training helps me to become more professional in every aspect. She teaches me how to communicate with audience, how to present Mohiniyattam more professionally on the stage. It was the turning point of my life.

2] You have choreographed many items, both traditional and thematic. Explain some of them?
I have choreographed many items, both traditional and thematic. I have many ideas and having a desire to do something new from my childhood days. The desire helps me to do more research works on Mohinyattam. After a consistent effort I tried a new theme called ‘Ritu Ranga’, which is about six seasons.

First I selected the composition of Rabindranath Tagore on seasons and at the same time I selected ‘Ritu Samhar’ written by Kalidasa, the Sanskrit poet and dramatist. I took the lines of both and composed a new ‘Ritu Ranga’ out of it.

‘Ritu Samhar’ was a beautiful imagination of Kalidasa. It is a description of Indian cycles of seasons, portraying the human minds and his close interaction of life with nature. It also shows the impacts of the different seasons on body and mind. Rabindranath Tagore elegant composition tells how nature changes its colour and also clearly leaves the message that nothing is static in life. The descriptions of the nature as well as the effect of the seasons in the human mind are mingled together in this choreography. This is how ‘Ritu Ranga’ comes out.

Kavalam Narayanan Panikar tuned the song in Sopana style [the traditional temple music of Kerala]. When I presented it on stage it was widely accepted by the audience. This is my first break event program. After that I got many national and international stages to perform.

After ‘Ritu Ranga’ I have done ‘Salabhajika’ a story of sculpture and his sculptural work. Salabhanjika is not an ordinary stone .The poet tries to present the existence of ‘Ahalya’ in it. Ahalya was the wife of sage Gautama. Once, Indra the king of heaven fell in love with Ahalya. One fine morning when the saint went for bathing, Indra, filled with unholy desire for the beautiful Ahalya, entered the ashram disguised as Gautama and approached the lady with urgent solicitation. She lost her judgment and yielded to his desires. After enjoying the ephemeral pleasure, Indra hurried to leave the place before Gautama returned; but as the latter was leaving, the sage returned and came to know about his daring escapade. He misunderstood Ahalya and cursed her by which Ahalya turned into a stone. He cursed her that she would stand petrified and be invisible to everyone until Lord Rama touched the stone with his feet. I am inspired by the story of Ahalya and choreographed it. In this composition I tried to express the universal feelings of women heart and the pain and suffering, the varied shades of conflict, pain ephemeral happiness, dreams and aspirations she underwent. In other word it is context of world desire and spiritual dignity.

The script was written by Kavalam Narayanan Panikar and music was composed by late Kalamandalam Hyder Ali. When I presented it was a great success. It was widely accepted.

3] As a danseuse when you work on a new composition, you consult with the experts?
Yes every time when I work on a new composition I consult with my Guru and take all guidance from necessary sources.

4] You are one among the well known dancers who has taken the mission to popularise Mohiniyattam outside its birthplace? Are you happy with the present position?

Yes I am happy with the present position. Now Mohiniyattam is also included at every national and international level competition. Many young talented artists are coming up with new ideas and themes. So it is in developing stage.

5] How you combine adavu and abhinaya when you imbibed a style of your own?
Both are equally important. But when we mix it in equal combination it really enchants the audience.

6] Do you think traditional dances forms loose it value among modern audiences?
Yes, very much. But traditional dance always got a class of audience. They always enjoys the show.

7] Have you from traditional Mohiniyattam family? Tell us about your family.

No. I have never been from traditional Mohiniyattam family. My Father Rathish Achajeee is retired superintend of Damodar valley corporation. My mother is house wife. Initially they restricted me. But now they realize the pain I underwent to learn and promote Mohiniyattam.

8] You have established Lasya Academy of Mohiniyattam, based in Thrissur? What is the aim of the Academy?

My aim is to promote young artists into Mohiniyattam. I always encourage my student to do something new and innovative without loosing the original form. I believe hard work and dedication that is required to produce high quality dancers. With hard work a combination of traditional schooling (guru-shishya parampara) and an open attitude gives the students the disciplined training they need while still allowing them to explore their own creativity.

9] You have learned and associated with well known Gurus such as Kalamandalam Sankaranarayanan (Santiniketan), Kalamandalam Leelamma, Bharati Shivaji and Kalamandalam Kshemavathy. How was the experience?
It was really a great experience. I am proud and honoured to be a student of such a great guru’s.

10] As a disciple of Santiniketan and later Kerala Kalamandalam what the major difference you find between two in its functioning?
Saniniketan is campus of freedom. In Saniniketan we got a healthy relationship between students of opposite sex and also having good communication between students and teachers. The campus helps me to develop my personality to great extend. While Kalamandalam, is campus for intensive learning. So both campuses helped me to improve and develop the hidden talent in me.

11] Which Indian Festivals you have performed?
My performance in India, among others, includes leading festivals of the country such as the national dance festivals of the Central Sangeet Natak Akademi at various parts of the country, Konark Festival (Orissa), Mahabalipuram Festival (Chennai), New Choreographic Festival of Impresario India (Delhi), Doverlane Festival of Music & Dance (Kolkata), Soorya Festival, Nishagandhi Festival and Malabar Mahotsav (Kerala).

12] A part from India in which other part of the world you performed?
I have performed and conducted Mohiniyattam residencies extensively in India and abroad in countries such as Australia, Canada, Poland, Austria, Switzerland and UK.

13] Share your experience in the film `The Dance of the Enchantress.’
It was a great experience to work with such a great artists. `The Dance of the Enchantress’ is a documentary on Mohiniyattom. The documentary was made in such a way that it would be an enriching experience even for someone who knows nothing about the art form. The script for the documentary was prepared by Adoor and Brigitte. The director was French Mohiniyattom dancer, Brigitte Chataignier. Many senior artist have been associated with it .They were Kalamandalam Satyabhama, Sreedevi Rajan, Kalamandalam Kshemavathy, Kalamandalam Leelamma, Smitha Rajan, and Neena Prasad etc . Kavalam Sreekumar has sung the title song. The songs for the dances have been sung by Kalamandalam Jayaprakash, Kalamandalam Jagadeesh, and Madhavan Namboothiri to the accompaniment of traditional instruments like the mridangam, veena, flute, edakka and maddalam.

14] What is your future planning?
Bring more and talented students to Mohiniyattam. I want to contribute more to this art form. I have to do more experiments and innovative things for the development of Mohinyattam.

15] Tell us about your family?
My husband is working with State Bank of India, Thrissur. My daughter is Priyam Vada a 4th standard student is also learning Mohiniyattam.