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The movement of Mohiniyattam dance is a rich semeiotic system that
is inclusive of controversy, embodied gender ideals, and cultural
information. The historical and cultural conditions that enabled
the emergence of Mohiniyattam as the epitome of "lasya"
("feminine") unfolded out of a specific historical and cultural
moment. Tradition and Transformation in Mohiniyattam Dance: An
Ethnographic History demonstrates how Mohiniyattam, a form
previously stigmatized, was reinvented as a Sign of traditional
Keralite Womanhood. The book traces how the emergence of
Mohiniyattam as a traditional form of dance based on a feminine
aesthetic was synchronistic with the outlawing of polyandrous
marriage practices and devadasi practices as well as changes in
matrilineal inheritance the outlawing of and reforms in women's
dress customs in Kerala, India. These layers of history and
cultural meaning permitted Mohiniyattam's renaissance as a Sign of
female grace and tradition. Throughout, the author argues that
practicing and learning movement is a gateway to understanding a
system of semiosis. Danced movement itself can be a locust, a
bell-weather, and even an agent of social change.
As stories of Indian dance's renaissance span almost a full
century, there has emerged a globally dispersed community of Indian
dancers, scholars and audiences who are deeply committed to keeping
these traditions alive and experimenting with traditional dance
languages to grapple with contemporary themes and issues. Scripting
Dance in Contemporary India is an edited volume that contributes to
this field of Indian dance studies. The book engages with multiple
dance forms of India and their representations. The contributions
are eclectic, including writings by both scholars and performers
who share their experiential knowledge. There are four sections in
the book - section I titled, "Representations' has three chapters
that deal with textual representations and illustrations of dance
and dancers, and the significance of those representations in the
present. Section II titled, "Histories in Process" consists of two
chapters that engage with the historiographies of dance forms and
suggest that histories are narratives that are continually created.
In the third section, "Negotiations", the four chapters address the
different ways in which dance is embedded in society, and the
different ways in which the aesthetics of a form has to negotiate
with social, economic and political imperatives. The final section,
"Other Voices/ Other Bodies" brings voices which are outside the
mainstream of dance as 'serious' art.
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