Neelamperoor Suresh Kumar and Anupama Menon are happy now. It is because their effort to revive the traditional way of presenting Mohniniyattom is getting recognition. Back in 2008, things were not quite easy when Suresh and Anupama came up with the dance music form Sopanalasyam, which is a blend of Mohiniyattom and Sopana Sangeetham, two authentic forms of Kerala.
According to the concept, Anupama would dance to the Sopana Sangeetham songs when instruments such as maddalam and edakka play along. As expected, there were criticisms and many had even opined that Mohiniyattom could be enjoyed only when it is accompanied with Carnatic music and corresponding instruments. It took the couple a while to get a foothold and things began to change in 2011.
“Our maiden performance was in 2008 at Koodalmanikyam Temple in Irinjalakkuda,” Anupama, who is settled in Thrissur, recalls the journey. “It was a novel experience to the audience, yet the initial days were difficult. People were reluctant to invite us as they were doubtful how the event would turn out. We had to prove ourselves by performing for free. Once the audience realised the potential of Sopanalasyam, there was no looking back.” There is a sense of pride in her words. So far, the couple has performed at various venues in and outside the country.
Anupama is currently pursuing a research on the relevance of Sopana Sangeetham in Mohiniyattam. She is the Mohiniyattam lecturer in the Dance Department of Kaladi Sri Sankaracharya Sanskrit University and is a graded artiste of Doordarshan. Suresh Kumar is a lecturer in music at St Teresa’s College, Ernakulam. He had won the prestigious Kerala Sangeetha Nataka Akademi award at the age of 19. A post-graduate in music, he belongs to the popular Neelamperoor Padayani group. He has been practising Sopana Sangeetham since childhood. The idea of Sopanalasyam struck the couple after marriage.
Zeroing in on the concept, Anupama says, “History says that during ancient period, Devadasis used to sing and dance before the sanctum sanctorum of temples. Records say that Mohiniyattam was accompanied by Kerala ganam (Sopana Sangeetham) during those days. It was during the reign of Swathi Thirunal Maharaja that the Kerala song was replaced with Carnatic music. Through Sopanalasyam, we are trying to revive the old tradition,” she says.
The performance would begin with the Kirtan that sings about Ganapathi. “Bhakthi Sringaram (devotional love) is the core theme of the concept. The songs would be in tune with that, like the heroine who is waiting for her hero (lord) or making arrangement for the arrival of her hero,” she says. “The songs would be about Bhagavan (deity), mostly about Lord Padmanabha or Krishna. We had done an ashtapadi on Radha-Krishna life,” she adds.
The couple selects the song and then Suresh arranges the music for Anupama to choreograph. “Devotional hymns that are apt for Mohiniyattam can be used in Sopanalasyam. Then, they are arranged using Kerala’s usual ragas and thalams appropriate for Mohiniyattam. We don’t take Tamil songs and instead go for Sanskrit, Malayalam and Manipravalam songs,” Anupama says. “When it comes to dance, we adhere to the style of Mohiniyattam. The songs are the important factor here. The concept is that we worship the Lord through each Kirtan,” she adds.
They have devoted their life to spread this unique dance music form. Anupama now performs only Sopan alasyam. They make it a point to find time to select songs and practice. And, they are not tired of this continuous process. “We improvise the form according to the temple we perform. We try to include songs that praise the deity of that particular temple,” signs off Anupama.
