The term Aesthetics is derived from the Greek word ‘AISTHESIS’ (senses- perception). How does one define it in relation to visual art? Anything which has no conformity with the tradition becomes controversial, especially in a country like India. The study of aesthetics is one of them, particularly the classical traditions. Something which is experienced, observed, discussed, analyzed and summarized. I am inspired by a few lines of AUROBINDO where he tried to explain the purpose of the artist: “the purpose of the artist must be art only… But if in doing it he satisfies the conditions of his art, shows a perfect technique and in it beauty, power, perfection, why not?
Heavy and serious dependence on authoritative books and journals with their citations in a researcher’s work is a yard stick that measures the quality of research performance. In reality it only becomes a compilation of facts and data of the subject to this effect .One is supposed to follow this objective of already compiled facts and less subjective contribution of one’s own. The study of aesthetics cannot be treated mathematically, logically or even philosophically. A study of aesthetics in dance requires a practical approach and simple methods of observation, interacting, discussions, debate and records of the past to an extent are much more helpful and conducive for opening the human mind.
Essentially being a performer, exploring the aesthetic values which are renewed and assuming new shapes almost daily was an enlightening experience during the course of my long journey. To me, my perspective of aesthetics has its own ethics, and logic in relation to my perspective of Mohiniyattam. BEN JOHNSON has said: “Art has an enemy called ignorance.” It is this enemy that has been particularly active in my pursuit of exploring the unexplored areas of aesthetic beauty in Mohiniyattam. What began as a fascination for Mohiniyattam, gradually took several forms of a deep involvement ranging from, amazement, a bonding of emotional maternal love, very personal, obsession to seek for an identity and eventually to share its divine beauty with the whole art world.
To me, my perspective of aesthetics in Mohiniyattam is essentially performance related and I cannot find an alternative whatsoever. I honed this perspective under the able guidance of Sri KAVALAM NARAYANA PANIKKER, the authority in traditional theatre and folk arts of Kerala. My work in reconstructing a new repertoire entailed reinterpreting the unexplored aesthetic wealth of Mohiniyattam.
Way back in 1978, I owe it to the divine calling, when I was introduced by Kamaladevi Chattopadhyaya, then Chairperson of The Sangeet Natak Akademi to Sri Kavalam Narayana Panikker Sir to work on a joint project on Mohiniyattam initially for two years which eventually became the cause of my life. I could not fathom why Kamaladeviji wanted me to work on a dance form with a theatre personality instead of a traditional dance Guru. Totally unaware what lay ahead, it was amazing to see the answer unraveling itself over a span of 4 decades, which defined my perspective of aesthetics in Mohiniyattam.
The repertoire created by this combination, reflected rediscovery of the tradition that lay unexplored. Drawing upon the elements from indigenous traditions only justified a meaningful and substantial stature for Mohiniyattam which is interdisciplinary in scope. My perspective of aesthetics in Mohiniyattam is, experiencing the beauty element of lasya that lay inherent in many of the regional traditions of Kerala that when incorporating them in Mohiniyattam has greatly enriched the dance form qualitatively & quantitatively. This could be defined as progressive value of aesthetics which accepts tradition and innovation together in aesthetic creative activity.
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