Indian Dances

HOME	NATARAJA	CLASSICAL DANCES	FOLK DANCES
PREFACE \| BHARATANATYAM \| CHHAU \| KATHAK \| KATHAKALI \| KUCHIPUDI MANIPURI \| MOHINIATTAM \| ORISSI \| SATRIYA \| YAKSHAGANA

PREFACE

Mohiniattam, the female classical dance form of Kerala is said to be older than Kathakali. Literally, the dance of the enchantress, Mohiniattam was mainly performed in the temple precincts of Kerala. The word 'Mohini' means a maiden who exerts desire or steals the heart of the onlooker. It is hailed as the dance of the enchantress or the celestial nymph, Mohini, who enticed the gods. There is a well-known story of Lord Vishnu taking on the guise of a 'Mohini' to enthrall people, both in connection with the churning of the milk ocean and with the episode of slaying of Bhasmasura.

The first reference to Mohiniattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan Namboodiri, assigned to the 16th century AD. In the 19th century, Swati Thirunal, the king of erstwhile Travancore, did much to encourage and stabilize this art form. The post Swati period however witnessed the downfall of this art form. It somehow degenerated into eroticism to satisfy the Epicurean life of some provincial Satraps and landlords. It was Poet Vallathol who again revived it and gave it a status in modern times. The theme of Mohiniattam is love and devotion to god. Vishnu or Krishna is more often the hero. The spectators could feel his invisible presence when the heroine or her maid details dreams and ambitions through the circular movements, delicate footsteps and subtle expressions.

The dancer in the slow and medium tempos is able to find adequate space for improvisations and suggestive bhavas. The repertoire of Mohiniattam consists of five principal items, starting with cholkettu, then varnam, jatiswaram, padam and concluding with tillana. Varnam combines pure and expressional dance, while Padam tests the histrionic talent of a dancer and Thillana exposes her technical artistry. An austere white sari with a gold or red border offsets the graceful movements.

Typical to the ornamentation is the hair-bun, made on the left side. Gold ornaments on the neck, waist, wrist and ankle bells complete the attire of this celestial enchantress. Mohiniattam like many other forms follows the Hastha Lakshanadeepika, as a text book for Mudras, or hand gestures. The style of vocal music for Mohiniattam as is generally seen, is classical Carnatic.