Literally “the dance of the enchantress”, Mohiniyattam is the sole exclusive female dance tradition of Kerala. Kalamandalam Leelamma carved a niche in the dance-form by means of her instinct, rigorous sadhana, power of articulation, devotion and a fierce commitment. A dedicated student, disciplined teacher and an accomplished choreographer, Kalamandalam Leelamma's contribution for enriching the repertoire of Mohiniyattam has been monumental.
Literally “the dance of the enchantress”, Mohiniyattam is the sole exclusive female dance tradition of Kerala. Its origin is shrouded in mystery. Sandwiched between Kutiyattam, the only extant form of Sanskrit theatre heritage in India and Kathakali, the highly evolved dance-drama, Mohiniyattam is said to have received an impetus only in the 19th century in south Kerala then ruled by King Swathy Thirunal. In the post-Swathy-period, this dance-form shifted its base from Thiruvananthapuram, the capital city of Kerala, to Palakkad, the treasure-trove of Kerala’s traditional performing arts. However, the English education and the Victorian prudishness forced the middle-class elites to distance themselves from Mohiniyattam resulting in its near complete extinction.
Poet laureate Vallathol Narayana Menon who founded Kerala Kalamandalam in 1930 noticed the pathetic plight of this lasya-rich dance form. He undertook the herculean task of resurrecting it against all the odds. Mohiniyattam was added to the curriculum of Kalamandalam in 1934. Since then, the institution has been grooming dozens of dancers consistently of which a few proved to be the torch-bearers of Mohiniyattam in their twin roles as teachers and performers. One of them was undoubtedly Kalamandalam Leelamma who carved a niche in the dance-form concerned by means of her instinct, rigorous sadhana, power of articulation, devotion and a fierce commitment.
Leelamma was born in a lower middle-class family in the village, Mattakkara, in Kottayam District way back in the 1950’s. She had evinced a keen interest in dance even as a child. Destiny brought her to Kerala Kalamandalam at the age of tender age of twelve. There she received intensive tutelage in Mohiniyattam under Kalamandalam Sathyabhama, the doyen of the dance-form, for four years. Soon after completion of her training, Leelamma became a member of the Kalamandalam Dance Troupe that travelled widely within Kerala and outside for programs. Afterwards she was appointed as Instructor of Mohiniyattam in her alma mater. For nearly three and a half decades, Leelamma had been part and parcel of the Dance Faculty of the institution both as teacher and as performer.
It was Kalamandalam Sathyabhama who safe-guarded, refurbished and expanded the repertoire of traditional Mohiniyattam, passed down to her by Thottassery Chinnammu Amma. Kalamandalam Kshemavathy, Saraswathy and Sugandhi, were some of the early disciples of Sathyabhama. Of the later generation of students, Leelamma stood out as a consummate performer and as a strict Instructor. She took up the task of promoting and popularizing Mohiniyattam without deviating from the canons of its structural frame-work.
Leelamma passed away on 15th June 2017. Her demise was unexpected and untimely. She left a legacy in Mohiniyattam that harmonized both tradition and transition.
For over half a century following its rejuvenation, Mohiniyattam was taught and performed at the Kerala Kalamandalam along with Bharatanatyam. As a result, there was no question of staging a full-fledged Mohiniyattam recital either at Kalamandalam or in the dance-programs held by it. Leelamma had to perform the Mohiniyattam Varnam during the programs within the prevailing constraints. She somehow managed to cross over these difficulties and could win the acceptance and admiration of the informed audience. She spared no efforts to enrich the repertoire of Mohiniyattam in such a way as to ensure its presentation as a solo recital lasting for about one and a half hours. Leelamma’s unstinting efforts met with success and she was hailed as a top-ranking dancer in the dance-circles and amongst the connoisseurs far and near.
Of all the Varnams she performed on stage, Swathy Thirunal’s famed “Sumasayaka” in raga, Karnataka Kappi and Adi tala, deserves special mention. In this piece, her chiseled adavus complemented the undulating movements of her torso and the transitory moods of the Viraholkanditha Nayika were in perfect harmony with the other two. The visual interpretation of Kanakamayamaayeetum from the Ulsavaprabandha of Swathy Thirunal which Leelamma did a number of times along with her colleague, Kalamandalam Hymavathy was always delectable.
The syllabi followed at the Kalamandalam had only thirty-five adavus. Leelamma furthered those with twenty more. The total of 55 adavus comprise of six groups including the theermanaadavus. Following the retirement of her Guru, Sathyabhama, Leelamma became the Head of the Faculty of Mohiniyattam. Under her intensive tutelage, dozens of dancers came out of the institution every year. All of them invariably carry the imprints of the Kalamandalam Baani in Mohiniyattam.
Apart from learning the techniques and the expressions associated with the dance-form, the students acquired from her Kalari qualities like keen sense of responsibility, confidence, discipline, competitive spirit, quest for perfection and what not. Outside Kalamandalam, Leelamma had mentored a good number of aspirants some of whom later became excellent dancers.
Gathering inspiration from the traditional repertoire of Mohiniyattam which she had mastered, Leelamma entered into the art of choreography in the latter part of her life. She successfully choreographed around a hundred items by employing the techniques of Mohiniyattam in multiple ways. Kaamithavaradaayika is one of the several Varnams having a distinct texture and aesthetic tone. Treating poems as the sahithya of Mohiniyattam is easier said than done. Leelamma boldly experimented poet Vallathol’s Khandakavya, Magdalanamariyam, Kumaran Asan’s Veenapoovu, Vyloppilly Sreedhara Menon’s Mambazham and O.N.V. Kurup’s Ujjayini in Mohiniyattam.
Along with her Guru, Sathyabhama, she did the dance-choreography for the Malayalam commercial movie, Bandhukkal Shatrukkal directed by the renowned lyricist, Sreekumaran Thampi. Leelamma also performed Mohiniyattam in the highly acclaimed Malayalam film, Nirmalyam, directed by the versatile writer and film-maker, M.T. Vasudevan Nair.
When Sreesankaracharya Sanskrit University, Kalady, in its formative years, decided to incorporate Mohiniyattam as a subject of study in its Fine Arts Faculty, the University appointed Leelamma in its Thiruvananthapuram Centre as a senior lecturer. She was there for a brief period before returning to her parent-institution. Leelamma spent most of her time at Kalamandalam to enhance the scope and significance of Mohiniyattam. Simultaneously she set up Swathy Chitra, a Centre for the preservation and promotion of Mohiniyattam. In 2003, she organized a seven-day symposium on Mohiniyattam in which well-known practitioners, theoreticians and aesthetes enlightened a large number of students.
Mohiniyattam – Sidhanthavum Prayogavum (Theory & Practice) authored by Leelamma is a well-researched book on the dance-form concerned. The Nila Campus of Kerala Kalamandalam was set apart for Post Graduate and M Phil Courses on various art-disciplines. Since her retirement, Leelamma held the Post of Director there for several years. She was also an Expert Member of the Syllabus-Committee for Dance at the Sreesankaracharya Sanskrit University, Kalady, Kannur University and Mahatma Gandhi University, Kottayam. She had served the Faculties of Dance in these Universities as Examiner too.
Leelamma is recipient of the State & the Central Sangeet Natak Akademi Awards, Senior Fellowship from the Ministry of Culture, Government of India, Keraleeya Nritya Natya Puraskar, the highest award from the Kerala Government, Kerala Kalamandalam Award & Fellowship so on and so forth. She has contributed considerably to the highly acclaimed documentary film on Mohiniyattam directed by Adoor Gopalakrishnan and coordinated by the French dancer, Brigitte Chataignier. Leelamma was an A Grade dancer for the Doordarshan.
Leelamma was invited to France, UK and in the Middle East Countries for conducting Mohiniyattam recitals in the prestigious dance festivals held there. Within India, she had performed at the Khajuraho, Konark and Manali Dance Festivals. Within Kerala, Leelamma was an invitee for the Nishagandhi & Soorya Festivals. She did perform for the Art Festivals held by the South Zone Cultural Centre, Thanjavur.