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Divya Nedungadi -Mohiniyattam

Divya Nedungadi is a leading exponent of Mohiniyattam and a student of M A in Mohiniyattam  Sree Sankaracharya University  Kalady. She is well known for her tremendous efforts to promote and preserve the style of Indian classical dance as a living tradition. She is B’ grade Artiste of Doordarshan, the official channel of Government of India . She has performed various programmers’ in South India and Maldives organized by Indian Council for Cultural Relations, Ministry of Culture, Govt. of India. She is a recipient of National Level Scholarship given to Young and Upcoming Artistes for conducting Higher Studies in the field of Mohiniyattam by Ministry of Culture, Government of India in 2008 which makes her all the more committed to her y profession at this age

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



When did you start taking Mohiniyattam seriously?
As a child endowed with a zeal for dance, I start learning both Mohiniyattam and Bharatnatyam at the age of 4.  After completing my AISSE (10TH Standard), my complete attention was shifted to Mohiniyattam, the wonderful art-form of Kerala. The reasons why I chose it was because it belongs to my mother land. Though guru-sishya relationship between me and Guru Smt Vinitha Nedungadi who groomed me to choose Mohiniyattam, the enchanting art form of Kerala. Finally I wanted to do in-depth studies in Mohiniyattam. Whenever I went deep into its technical and aesthetical aspect, I badly felt the need for it.

What exactly is Mohiniyattam?
Though some are of the view that it was originated as a result of Dasiyattam prevailed in Kerala, as detailed in the manipravala literatures of 13-15th centaury, namely Unniyachicharitham,Unnichiruthevicharitha, Unniyaticharitham, Sivavilasam and Chandrotsavam. But I strongly oppose this view. It is hard to believe that Dasiyattam prevailed in Kerala. There is no geographical or other valid proof for it other than these literatures to substantiate this view.
The only temples observed Dasiyattam in Kerala at that time were Suchindram and Padmanabha swami temple in Trivandram. But the historic records prove that Devadasis were brought to Padmanabha swami temple from Suchindram during festivals. If Devadasis were available here why did we invited them from Suchindram?
The conclusion I reached through my personal research is that, having impressed by the Dasiyattam of Tamilnadu, it was Karthika Thirunal Balarama Varma, the nephew of Marthanda Varma and the then Maharaja of Travancore, who appointed Karuthedathu Chomathiri to make an art-form somewhat similar to it. Mohiniyattam was greatly patronized by Swathithirunal in the first half of 19th centaury. Tanjore quartets who adorned Swathi’s court contributed considerably to this art-form.
By the close of 19th centaury, after the demise of Swathi, as there was no one to patronize it, Mohiniyattam was taken to the Feudal land lords and struggled for its survival, ultimately resulted in the deterioration of its glory, charm and moral values. In 1930, by establishing Kalamandalam, Mukunda Raja and Vallathol paved way for its renaissance.

Do you think Mohiniattam is often perceived as being sidelined as compared to styles like Bharatanatyam and Odissi?
It is very true! Mohiniyattam finds its place only after Bharatanatyam and Kuchipudi. The first mistake happened from the part of Kalamandalam was by offering a diploma course in all the three art-forms by giving equal importance. Kalamandalam trained its teachers in Kuchipudi and Bharatnatyam by sending them to Kalakshethra and Kuchipudi gurus in Andrapradesh.
As far as Mohiniyattam was concerned, we had only one single Chinnammu Amma who learned only very little as our only available resource. The thrust was always given to Kathakali. No one bothered to do any serious research in this art-form and widen its scope. The other reason was its slow tempo. Boring choreographies in slow tempo took away its spectators. Unlike Kathakali, there was no one to criticize, correct and lead in the right way. As a result, latecomers mixed it whatever other art-forms. Kalamandalam created more Teachers than renowned Performers. Their life started and ended with the ‘nine minute fifty five seconds long possibility’ of Mohiniyattam.
Did your parents help and support you when you chose Mohiniattam as your career?
Thanks to Amma first. Actually she took me to dance. I took all-science group for my plus two. But I opted Sanskrit for my graduation as I thought it would facilitate my future studies in dance. By god’s grace I got First Rank with record marks. I got married last year. My husband supports me in all possible ways.
Who were your gurus and what was your experience learning under different gurus?
I believe, one can have different teachers but only a single guru. Great Mohiniyattam exponent Smt. Vinitha Nedungadi is my guru and I had the fortune to learn under my Guru ever since I was introduced to dance and it still continues. She is a student of Guru Kalamandalam Kshemavathi. Guru Vinitha does serious research in Mohiniyattam and it is our collective endeavor to up-bring Mohiniyattam through wonderful choreographies that herald sky-is-the-limit possibilities of this classical dance form.

You are a graded Artiste of Doordarshan, the official channel of Government of India. What was your experience with Doordarshan?
Sorry! I have limitations to comment.

You have presented many programs in south India and Maldives. What are the major differences you find between the audiences?
We performed in Maldives as part of Indian Independence Day Celebrations there. We were invited by Indian High Commission. Cinema and Cinematic dances do influence such events as you can see cross section of people from every states of India.
Our choreographies are well accepted by the serious audience of South India. Last month I danced in “Pallavotsava” in Mysore, a national-level dance festival dedicated to upcoming artistes. A lot of non-Malayalees took time to come to me after the performance to congratulate me and my team. Dailies like Deccan Herald, Star of Mysore etc wrote lengthy reviews about my performance.

Tell us about your family?
Apart from my parents, I have an elder brother who works for Tech-Mahindra as a Software Engineer in Chicago. My husband hails from Payannur and he is a business man.
You are a recipient of National Level Scholarship given to Young and Upcoming Artistes for conducting Higher Studies in the field of Mohiniyattam by Ministry of Culture, Government of India in 2008? What was your experience?
It was my husband who insisted me to apply for it. He took me to Trivandram for its interview and talent test. Many performing artists were also there as candidates. Now when I got it, I take it very seriously as it demands more dedication and it often reminds me of responsibility towards my art-form.

What is your future planning?
My dream is to make it more acceptable to the spectators through wonderful choreographies strictly adhering to its classical values and structure and to take Mohiniyattam to its rightful place in the Dance World like Bharatnatyam and Odissi. I have some invitations from abroad to perform, I am yet to confirm as I believe this is the right time for serious studies.