Mohiniyattam
The Enchanting Dance of Kerala
Embedded Files
Chat with us on WhatsApp
Mohiniyattam, also referred to as Mohini-attam, is a classical Indian dance form that has a rich history rooted in the state of Kerala. This elegant dance style is named after Mohini, a captivating avatar of the Hindu god Vishnu, who used her feminine allure to help good triumph over evil. "Aattam" is a Malayalam term for rhythmic motion or dance. Thus, Mohiniyattam translates to "the dance of an enchantress" or "a dance by a beautiful woman."
Historic Roots
Mohiniyattam is a classical Indian dance form with its roots traced back to the Natya Shastra, an ancient Hindu Sanskrit text on performance arts. Natya Shastra, attributed to the scholar Bharata Muni, provides the foundational principles for various classical dance styles in India. Mohiniyattam, in particular, follows the Lasya style described in Natya Shastra, emphasizing delicate, eros-filled, and feminine movements.
Evidence of Mohiniyattam or a similar dance tradition can be found in temple sculptures in Kerala dating back to the 11th century. The 16th-century Vyavaharamala contains the first known mention of the term "Mohiniyattam" in the context of a payment made to a Mohiniyattam dancer. The dance continued to evolve and gain popularity during the 18th and 19th centuries, with the patronage of competing princely states. Swathi Thirunal Rama Varma, a Hindu king, poet, and music composer, significantly contributed to the growth and systematization of modern Mohiniyattam during the early 19th century.
British Era
However, the colonial British rule in the 19th century had a detrimental impact on all classical Indian dance forms, including Mohiniyattam. The Victorian morality of sexual repression and criticism of Hinduism by Anglican missionaries led to the ridicule and discouragement of these dances. Mohiniyattam was part of three marriage rituals, but it was stigmatized and reduced to a single marriage ritual, known as "kalyanam." This shift in marriage rituals was influenced by British ideals. The "anti-dance movement" of 1892, initiated by Christian missionaries and their demands to stop what they considered debased erotic culture, further contributed to the decline of Mohiniyattam. The movement affected all classical dances in India, and the dance was stigmatized in the princely states of Travancore and Cochin in the British Empire.
However, historical evidence suggests that there was no official ban on Mohiniyattam, and the dancers were not necessarily devadasis or temple prostitutes. In 1940, the ban was partially repealed, allowing "voluntary dances in temples." This change resulted in protests and demands by Mohiniyattam artists for economic compensation for their performances. The ridicule and bans during the colonial era fueled nationalist sentiments, leading to the revival and reconstruction of Mohiniyattam. In the 1930s, Malayalam poet Vallathol Narayana Menon played a pivotal role in reviving the art form. He helped repeal the ban on temple dancing in Kerala, established the Kerala Kalamandalam dance school, and promoted the study and practice of Mohiniyattam.
Mohiniyattam is a dance form that excels in Ekaharya Abhinaya, a solo expressive dance performance aided by singing and music. The dance comprises three key elements:
Nritya
Nritya
The expressive aspect of the dance aims to communicate a storyline, emotions, and spiritual themes. Dancers use hand and facial gestures, along with body motion set to musical notes, to engage the emotions and minds of the audience.
Natya
Natya
While traditional Mohiniyattam primarily consists of Nritta and Nritya, modern productions may include Natya, which involves group dance and dramatic elements.
Nritta
Nritta
This is the abstract, rhythmic aspect of the dance, emphasizing pure movement, form, speed, range, and pattern. It has no interpretative aspect and focuses on the beauty of motion.
The dance is characterized by its gentle, graceful movements, with the dancer swaying her body from side to side in an 8-shaped motion. The footwork is soft and synchronized with the music, and the hand and facial gestures follow the classical text of Hastha Lakshanadeepika, which elaborates on mudras.
Costume & Music
The traditional costume for a Mohiniyattam dancer is an ivory or cream-colored sari adorned with bright golden or gold-laced brocade. The sari is complemented by a fitted blouse, a golden waist belt, and pleated sheets below the belt to enhance freedom of movement. Dancers wear simple jewelry on their fingers, wrists, neck, and ears, along with anklets adorned with bells. Makeup is natural, with a brilliant red lip color, a tikka on the forehead, and lined eyes to highlight expressions. The hair is gathered into a tight round chignon on one side and adorned with fragrant flowers, typically jasmine.
Mohiniyattam is accompanied by vocal music that involves various rhythms. The lyrics are often in Manipravalam, a blend of Sanskrit, Tamil, and Malayalam. The musical instruments used in Mohiniyattam performances include the Mridangam or Madhalam (barrel drum), Idakka (hourglass drum), flute, Veena, and Kuzhitalam (cymbals). The ragas (melodies) are rendered in the sopana style, characterized by slow, melodic sequences rooted in the Natya Shastra.
Mohiniyattam is a captivating classical dance form that embodies grace, elegance, and storytelling. Its history, revival, and cultural significance make it a vital part of Kerala's artistic heritage. The dance continues to enchant audiences with its enchanting movements and expressions, preserving the rich traditions of Indian classical dance.
Page updated
Google Sites
Report abuse