Mohiniyattam also partially follows the book of Natyashastra (major book of drama, dance and music) as well the Hastha Lakshandeepika; a text book for Mudras, or hand gestures. According to the Natyashastra, the art of classical dance (including Mohiniyattam) is divided into three broad divisions: nritta, nritya and natya.
Nritta means the pure movement of the body. It is used for creating beauty by setting different shapes and lines of the body in space and time without conveying any mood (bhava), meaning or story. The adavus are a part of Nritta.
Nritya can be described as interpretive dance, where the lyrics of the song are conveyed using hand gestures (hasta mudras) and expressions (abhinaya). The dancer’s internal emotions (bhava) create the sentiment (rasa) of the piece, which should also be felt by the audience.
Natya is the dramatic element of classical Indian dance. The dancers take on character roles and perform a dramatic story through music and dance. It includes drama through the use of spoken word, apart from Nritta and Nritya.
Besides the Natya Shastra, the book Balaramabharatam is indispensable to the learning and teaching of Mohiniyattam.
The author, scholar and king Karthika Thirunal Bala Rama Varma (‘Dharma Raja’ or “the king of righteousness), who possessed a great talent in the field of literature, music and dance, promoted the arts and literature in the 18th Century. His book, which in fact is an elaboration on the 6th to the 10th chapter of the Natyashastra, is an authentic treatise on Mohiniyattam. In addition to the mudras, the Angas (major limbs like thorax, hips, feet, hands and head), Upangas (minor limbs such as eyes, eyebrows, nose, lips and chin, mouth) and Pratyangas (neck, wrist, knee, thigh, etc.) are described and defined. This book- with texts and practical details- completes the study of Mohiniyattam.
Mohiniyattam also partially follows the book of Natyashastra (major book of drama, dance and music) as well the Hastha Lakshandeepika; a text book for Mudras, or hand gestures. According to the Natyashastra, the art of classical dance (including Mohiniyattam) is divided into three broad divisions: nritta, nritya and natya.
Nritta means the pure movement of the body. It is used for creating beauty by setting different shapes and lines of the body in space and time without conveying any mood (bhava), meaning or story. The adavus are a part of Nritta.
Nritya can be described as interpretive dance, where the lyrics of the song are conveyed using hand gestures (hasta mudras) and expressions (abhinaya). The dancer’s internal emotions (bhava) create the sentiment (rasa) of the piece, which should also be felt by the audience.
Natya is the dramatic element of classical Indian dance. The dancers take on character roles and perform a dramatic story through music and dance. It includes drama through the use of spoken word, apart from Nritta and Nritya.
Besides the Natya Shastra, the book Balaramabharatam is indispensable to the learning and teaching of Mohiniyattam.
The author, scholar and king Karthika Thirunal Bala Rama Varma (‘Dharma Raja’ or “the king of righteousness), who possessed a great talent in the field of literature, music and dance, promoted the arts and literature in the 18th Century. His book, which in fact is an elaboration on the 6th to the 10th chapter of the Natyashastra, is an authentic treatise on Mohiniyattam. In addition to the mudras, the Angas (major limbs like thorax, hips, feet, hands and head), Upangas (minor limbs such as eyes, eyebrows, nose, lips and chin, mouth) and Pratyangas (neck, wrist, knee, thigh, etc.) are described and defined. This book- with texts and practical details- completes the study of Mohiniyattam.
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