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A conversation with Guru Nirmala Paniker. Mohiniyattam Teacher - Nirmala Paniker
NIRMALA PANIKER is regarded as a pioneer in teaching methodology of Mohiniyattam. Her dedication to the art and treasured contributions have made her name synonym with mohiniyattam.
She founded Natana Kaishiki in 1979 at Irinjalakuda. Nirmala Paniker has played an important role in the enrichment of Mohiniattam by adding the rich Netrabhinaya and Hastabhinaya traditions of Kerala which were earlier part of Mohiniattam. The tradition had been lost due to the deterioration of this art form. She had special training in hand gestures and abhinaya techniques of this art form under Guru Ammannur asan. With this, she has developed a systematic methodology for the teaching of Mohiniattam. She has played a key role in the revival of Nangiar Koothu at Irinjalakuda. Nirmala Paniker has done research on the Hastalakshana Deepika and by 1985, introduced a methodology for learning all the hand gestures in Mohiniattam using the Sanskrit slokas for the first time in the history of Mohiniattam. Now it is in the training program in most of the schools. The students showed the usages of a few mudras with the chanting of the Sanskrit slokas. Nirmala Paniker also rejuvenated the desi aspects of Mohiniattam called Poli, Easal, Kurathy and Chandanam. She has choreographed 'Leela' (based on the great poet Kumaranasan's poem Leela) in the form of Mohiniattam Saptam). Her contributions include many songs written by her (Varnams, Keerthanams etc) for Mohiniattam, choreographed and taught to the new generation. A peek into a Beautiful mind. Shruthi speaks to Teacher Nirmala Paniker "Hello, ma'am." "Call me teacher, everybody calls me that." "yes ma'am, teacher." It took a while but five years later I am still amazed how different a Guru she is from every single being I have been fortunate to have met. We were sitting in Natan Kaishiki kalari waiting for others to turn up. I was there five minutes earlier, teacher being teacher was there five minutes earlier than me. I love these moments with her as she passes some wisdom. This time I simply recorded it for the world. A conversation with Guru Nirmala Paniker. 1) In your long period of teaching, do you see various generations having changed their approach to dance? The older generation have had a lot of difficulties, it was considered shameful to dance for a long time...yet, they were dedicated. They had lesser distractions and had no other means to the particular learning than the Guru which kept the quality up. But now, times have changed. When the society recognizes that a girl is learning dance there is an aura, people are in awe... but, dedication has gone down. Students have no time and have too many distractions. Also olden days, the purpose was to learn, to develop the art within themselves. Now it's all about doing programs, more and more programs...going to foreign countries. Nowadays with very less training from a teacher they are confident to develop on their own with material present on internet hence the quality and education has gone down. Seeking theory through such media is very good, olden days they had nothing...no source to learn. But it's not a good idea with practical sessions, they end up practicing whatever is wrong without any corrections and depending on self learnt techniques. Once you learn the wrong thing it's very difficult to change. Shruthi: Something like self medication? most times not a good idea? Teacher: ha-ha yes, something like that. Shruthi: which brings me to next question 2) In this world of online learning, why does Guru-Shishya parampara hold importance? All our art forms have an inner meaning, a kind of spiritual energy, a communication from years of learning that will be passed on to a student in a rendezvous, these machines cannot pass that. They become a hindrance. Upanishads were taught in the olden days with the student sitting quite close to the teacher. Our dance is not or cannot be called a sport , it goes beyond the physical. Machines are media, digital is a middleman that is best not to be used if you have the choice. 3) How should one approach choreography? As a performer , one needs to train very well with a Guru and work hard on particular movement. As a choreographer one needs to beyond mohiniyattam, be inspired by many arts, have a good knowledge of all surrounding arts. Have a keen observation of life, movement of nature. The wider knowledge one has , especially of puranic arts, the better. Shruthi: How important is research? Teacher: As a performer not much but to a choreographer it is a must. 4) Have you had any students global? Yes many! They keep coming to Natana Kaishiki from Japan, Mexico, Africa, South America, almost all countries (laughs). 5) How do you think youngsters can contribute to mohiniyattam, not just dancers or young teachers but the wider community interested or aware of the field? As a dance student , their first duty is to learn the art properly. They should dedicate themselves to the dance. They should understand the responsibility. It is an identity they carry that would reflect on the field itself, especially with new audience. Once the younger generation understand that such art is part of Indian heritage and then, accept that they play a primary role in preserving them...they have already started their contribution. The next step would be how they like to contribute: as an audience, as a writer, as a volunteer, organizer or financer. But I do need to point out that children are more aware now than before but need guidance. 6) I find your choreography very interesting. What are the elements that are given importance in your choreography? For a particular concept, I do a lot of research. The in and around the topic, I learn and observe. I also focus on presenting it in such an aesthetic way that a common man would appreciate. Mohiniyattam has lost most of its mudras even after revival. So I learnt Nangyarkoothu mudras and certain techniques. It's with eyes that they communicate. The communication with eye has always been specialty of this theatre. I have been successful in getting that within framework of mohiniyattam. 7) Which of your choreography do you like? I like all of mine, they are my children. As each was born, each had a special significance in my heart. But certain choreographies like 'Mukkutti' uplifts me to a timeless space. 8) Do you see a difference in expectations of your audience? The terms 'folk' and 'classical' are complicated , it really does not matter to the audience which one of these they are watching. I have realized that if they come to watch dance, and if its good they will really enjoy. Communication is the key now, majority of the audience are not very well informed and the dancer needs to be aware of who the audience is and communicate the dance. The audience come to watch to divert from their daily lives. Shruthi: They just want to be entertained? Teacher: No, they want an experience. To take back home an experience. Every dance done by the dancer needs to cater to that feeling. To provide an experience to the audience. Shruthi: That's how we are different from main stream entertainment. Teacher: Yes, what we cater to is different and once the audience has watched a wonderful performance where the mind and body has become one...they will come again. 9) You have been in this field for so long. Being a disciple of Guru KalyaniKutty Amma, you have had peers who have contributed to the field, students who are teachers in institutions; they are also popular performers. As you see all this, how has mohiniyattam changed? Research says that mohiniyattam was a very popular form a long time ago. But as the male art forms took over , mohiniyattam was pushed aside, but, was revived later. I feel we are still in revival period. people are still working, doing research...a lot of people are doing that. Experimenting and working. Everybody is still figuring out its roots and working hard . Shruthi: Nothing much has changed? Teacher: No, not on a broader perspective. People are bolder, there is more ways one can do research or do performances but I feel we are still reviving it. The purpose is that. 10) What is the best way a dancer can become an ace performer? Practice, practice and more practice looks at me and smiles Shruthi: Yes teacher, I'll do that ha-ha. Teacher: Really, practice until your soul merges with your physical being. There should be no gap. You should no more be Shruthi on stage. You should be the character of the narthaki. My Asan (Ammannur Madhava Chakkyar) used to say mind should be an empty vessel when ready to practice ,it should be able to absorb every little thing fed to it. 11) Any advice to youngsters? All of them work hard and we have variants... teachers who train students for youth festivals, dancers who learn without a guru but from online work or sometimes no background at all. But, also artists who are thoroughly trained and the sole aim is to transfer that to the next generation and, propagation of art form. This yuga forces youth to take any which way to get to the top. What is your take on that? It's ok to be trained in youth festivals because even if they don't become mohiniyattam artists now, later they can be a learned audience. But to take just that training or any other easy channel of learning is an illusion of having learnt. It's not good for the art and it's not good for them. My personal opinion is that people from young teachers to organizers should focus on students and dancers who wish to be dedicated to the art form and hone them than be captured by competitions or good marketing work. We need to think of the art too. Any way what's the point if your art cannot bring joy? For the self, if art has to bring happiness or inner peace... you need to learn it and dedicate yourself to it. But, if something else is the goal and art is to just a ladder to climb without enjoying it... it is same as doing something else. I feel dancers who know this truth , there is something about them... they are more content, I feel. Contributor- About Shruthi Shruthi KP is an young popular exponent of mohiniyattam. Her aim is to find ways of propagating the art form and strives sincerely for its development through performances, workshops, lectures and writing. Credits & Keywords- Nirmala Paniker, Mohiniyattam, Shruthi, Interview Do Not Copy, Copyrights Acknowledged, PriyaLasya, Hamara, (C), D16-12-1 |