Mohiniyattam

Mohiniyattam is one of the eight classical dance forms of India, celebrated for its grace, femininity, and lyrical beauty. Originating from the southern state of Kerala, Mohiniyattam literally means “the dance of the enchantress”—derived from “Mohini”, the female avatar of Lord Vishnu, and “attam”, meaning dance or graceful movement. Traditionally performed by women, Mohiniyattam embodies soft, fluid, and rhythmic movements symbolising charm and spiritual grace. It is deeply rooted in the Lasya (feminine) aspect of classical Indian aesthetics and reflects Kerala’s rich cultural synthesis of Dravidian and Sanskritic traditions.

Historical Background

Mohiniyattam’s origins are ancient, with its roots traceable to early temple dance traditions of Kerala. However, the form, as seen today, evolved over centuries through a fusion of regional folk dances, temple rituals, and classical influences such as Bharatanatyam and Kathakali.

• Early References: The earliest reference to Mohiniyattam is found in the Vyavaharamala, a 16th-century text by poet Mazhamangalam Narayanan Nambootiri, and in the Ghosha Yatra inscription (17th century CE). The dance was originally performed in temples by devadasis as part of ritual worship.
• Temple and Court Tradition: Mohiniyattam flourished under royal patronage during the Travancore dynasty (18th–19th centuries), particularly under Maharaja Swathi Thirunal Rama Varma (r. 1829–1846), a great patron of the arts and music. He encouraged Mohiniyattam performances in his court and composed numerous padams (lyrical songs) in Sanskrit and Manipravalam (a mixture of Malayalam and Sanskrit) that remain central to its repertoire.
• Decline and Revival: During the colonial period and early 20th century, Mohiniyattam suffered decline due to social reform movements that discouraged temple dancing. The revival began in the 1930s and 1940s through the efforts of Vallathol Narayana Menon, founder of Kerala Kalamandalam, and exponents such as Kalamandalam Kalyanikutty Amma, who codified the technique and repertoire, restoring the form’s classical stature.

Mythological Significance

The dance derives its name and symbolic essence from the legend of Mohini, the divine enchantress—an incarnation of Lord Vishnu who used her beauty and grace to restore cosmic order. According to Hindu mythology, Vishnu assumed the form of Mohini during the Samudra Manthana (Churning of the Ocean) to distract the demons (asuras) and distribute the nectar of immortality (amrita) among the gods.
In this context, Mohiniyattam embodies the power of feminine charm as a vehicle for divine purpose, transforming illusion (maya) into a tool for enlightenment.

Aesthetic and Stylistic Features

Mohiniyattam is distinguished by its gentle, flowing movements, subtle facial expressions, and harmonious coordination of limbs. It emphasises grace (lasya), simplicity, and naturalism rather than exaggerated drama or acrobatics.
Key Features:

• Movement and Body Language: The movements are soft, rounded, and wave-like, resembling the gentle swaying of palm trees or rippling water—reflecting Kerala’s natural beauty. The technique employs curvilinear trajectories rather than straight lines.
• Lasya Element: Mohiniyattam is predominantly lasya-oriented, highlighting feminine grace, emotional delicacy, and spiritual restraint.
• Posture: The characteristic posture, called “Aramandalam”, features slightly bent knees and swaying torso movements.
• Expression (Abhinaya): Abhinaya (expressive acting) in Mohiniyattam is highly refined and subtle, relying on controlled facial expressions, hand gestures (mudras), and delicate eye movements to communicate emotions (bhava).
• Gait: The graceful gliding walk, known as cholkettu, defines Mohiniyattam’s unique aesthetic—slow, circular, and rhythmic.
• Rhythm and Tempo: The dance maintains a moderate pace, following the principle of ekaharya lasya, meaning one dancer enacting multiple characters with minimal theatricality.

Musical Accompaniment

Mohiniyattam is traditionally performed to the Sopana style of music, a temple-based form indigenous to Kerala. The compositions are primarily in Manipravalam (a blend of Sanskrit and Malayalam) and are sung in a soft, melodious tone to match the dance’s mood.
Common Ragas:

• Kamboji, Saveri, Bhairavi, Kalyani, and Huseni are among the ragas frequently used.

Instruments:

• Edakka: A small hourglass drum capable of producing subtle tonal variations.
• Mridangam: Provides rhythmic base.
• Veena and Violin: Add melodic depth.
• Flute: Complements the lyrical flow.
• Cymbals (Ilathalam): Used to maintain tempo.

The rhythmic patterns (tala) in Mohiniyattam are generally slow and intricate, enhancing the dance’s meditative quality.

Structure of Performance

A typical Mohiniyattam recital follows a structured sequence, progressing from invocation to expressive storytelling:

1. Cholkettu: The invocatory item, introducing rhythm and movement through pure dance (nritta). The dancer offers salutations to Lord Ganesha or Saraswati.
2. Jatiswaram: A pure dance sequence combining intricate rhythmic syllables (jatis) with musical notes (swaras), showcasing technical skill and grace.
3. Varnam: The central piece of the repertoire combining pure dance and expressive storytelling (abhinaya). It conveys deep emotion (bhava) and spiritual devotion.
4. Padam: Expressive pieces focusing on lyrical interpretation, often portraying themes of love, longing, and devotion, particularly to Lord Vishnu or Krishna.
5. Tillana: A vibrant, rhythmic finale marked by joyous energy, yet maintaining Mohiniyattam’s inherent grace.
6. Slokam or Saptham: Sometimes performed as concluding devotional verses.

Costume and Ornamentation

Mohiniyattam’s costume reflects Kerala’s natural elegance and simplicity.

• Attire: The traditional costume consists of an off-white (ivory) or cream-coloured saree with a broad golden border (kasavu), symbolising purity and divinity. The pleats are arranged to accentuate circular movements.
• Jewellery: Gold ornaments inspired by Kerala temple jewellery are worn—necklaces (mangamalai), bangles, waist belt (oddiyanam), and earrings (jimikki).
• Hairstyle: The hair is neatly tied in a bun on the left side of the head, adorned with jasmine flowers in a circular arrangement.
• Make-up: Minimal and natural, enhancing facial expression. The eyes are outlined with kohl, and lips tinted red to emphasise abhinaya.
• Ankle Bells (Ghunghroos): Worn sparingly, producing a soft, restrained sound.

The overall visual effect symbolises serenity, purity, and feminine grace.

Themes and Expression

Thematically, Mohiniyattam is devotional and romantic, often exploring the soul’s longing for union with the divine. The heroine (nayika) is typically portrayed as a devotee or lover yearning for Lord Vishnu or Krishna, symbolising the eternal relationship between the human and the divine.
Common Themes Include:

• Bhakti (Devotion): Expression of spiritual love and surrender to God.
• Sringara (Love): Portrayal of emotional and romantic aspects, often in a spiritualised context.
• Nature and Feminine Beauty: Movements often emulate elements of nature—swaying palms, waves, and flowering lotuses.

The dance thus becomes a metaphor for moksha (liberation) through beauty, love, and grace.

Pioneers and Gurus

The modern revival of Mohiniyattam owes much to a few visionary artists and scholars who systematised its technique and pedagogy:

• Kalamandalam Kalyanikutty Amma: Revered as the “Mother of Mohiniyattam,” she codified the dance grammar and training method at Kerala Kalamandalam.
• Chinnammu Amma and Satyabhama Amma: Early exponents who preserved temple and folk traditions.
• Kanak Rele: Founder of the Nalanda Dance Research Centre, she reinterpreted Mohiniyattam using Lasya and Sattvika Abhinaya principles, promoting it globally.
• Vallathol Narayana Menon: Poet and founder of Kerala Kalamandalam, instrumental in institutional revival.

Contemporary practitioners such as Bharati Shivaji, Jayaprabha Menon, Gopika Varma, and Neena Prasad have expanded the form’s repertoire and international reach.

Musical and Literary Sources

The lyrical content of Mohiniyattam draws from Sanskrit, Malayalam, and Manipravalam literature, particularly Jayadeva’s Gita Govinda, Swathi Thirunal’s padams, and traditional Sopana Sangeetham. Many compositions focus on Krishna’s leelas (divine play) and the spiritual yearning of the devotee.

Mohiniyattam in Contemporary Context

Today, Mohiniyattam holds a prominent place in India’s cultural landscape. It is performed in temples, cultural festivals, and international stages, admired for its serenity and subtle power. Institutions such as Kerala Kalamandalam, Nalanda Nritya Kala Mahavidyalaya, and Lasya Academy continue to train new generations of dancers.
The dance has also inspired research and innovation, with themes expanding to social and environmental issues while retaining its spiritual core.