Dance of the Celestial Female Magicians - Mohiniyattam

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Mohiniyattam is an Indian classical dance style that originated in Kerala, India, and is one of the state's two most prominent dance forms, along with Kathakali. Unlike other Indian traditional dance styles, Mohiniyattam belongs to the Lasya type, which exhibits a more elegant, soft, and feminine form of dancing. Its roots may be traced back to the age-old Sanskrit Hindu scripture on performing arts called "Natya Shastra." The term Mohiniyattam comes from the term ‘Mohini,' which refers to Lord Vishnu's feminine incarnation. It is a solo dance done by female performers that emotes a play via dancing and singing. The song is traditionally in Manipravala, which is a blend of Sanskrit and Malayalam, and the recitation may be given by the dancer herself or by a vocalist with Carnatic music.

Mohiniyattam is a dance form that originated in Kerala and is linked to the ancient Lasya style of dancing. The earliest expressions of Mohiniyattam or other dance forms related to it may be seen in the state's temple sculptures. The many feminine statues that decorate the 11th century Vishnu temple at Trikodithanam and the Kidangur Subramanya temple similarly evoke Mohiniyattam positions. Because of the support of various princely nations, Mohiniyattam flourished as a performance art form in the 18th and 19th centuries. The Maharaja of the Kingdom of Travancore, Swathi Thirunal Rama Varma, a poet and excellent music composer himself, initiated and patronised the creation of a combined team of performers of two genres, Bharatanatyam and Mohiniyattam, in the early nineteenth century. His contributions to the art form resulted in the modern-day Mohiniyattam's evolution and systematization. With the advancement of the Indian freedom movement in the early twentieth century, attempts were made among Indians to resuscitate national culture and tradition, as well as explore India's rich past, in order to resurrect the nation's fundamental soul. Many classical art revivalists voiced their opposition to such prejudice and stepped up to resurrect ancient classical dance genres.

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It is mostly a solo dance done by women. However, the foundation of this dance also represents Lord Vishnu's transition into a feminine form, as well as the notion of Ardhanarishvara, which is the union of male and female as one. This, like many other dance genres, was only practiced by the Devadasis. Mohiniyattam is about love and devotion to God. With provocative abhinaya, nuanced gestures, rhythmic footwork, and melodic music, delicate love themes are portrayed. Mohiniyattam is an enchanter's dance that offers happiness and pleasure to the virtuous while destroying the evil. Unlike other traditional dance styles, Mohiniyattam focuses on secular and societal issues rather than religious mythology, such as the Ramayana, Mahabharata, and Indian Puranas' age-old stirring tales. The absence of forceful stomping and rhythmical stress distinguishes Mohiniattam's style, in which the footwork is smooth, smooth, and gliding. The motions are never sudden; instead, they are dignified, effortless, and natural, while maintaining the body's vertical line. As a result, Mohiniattam resembles the Kaisiki type, which means elegant, among the forms outlined by Bharata Muni in the ancient Indian book on dance, Natyashastra.

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Love and devotion to God are depicted in Mohiniattam performances. In their dances, the dancers typically represent Meghdoot and Geeta Govinda verses. The spiritual essence of Lord Krishna and Radha's ethereal love not only coloured but also exalted Mohiniyattam. Edakka is the primary musical instrument used in Mohiniyattam. The dancers are accompanied by musical instruments such as the violin, veena, and mridangam. Carnatic music provides the vocal melody for Mohiniyattam. The simplicity of the outfits is one of Mohiniyattam's distinguishing traits. Mohiniyattam has a traditional outfit that is a blend of white and gold. It generally comprises of a choli and a Kasavu sari in white, cream, or off-white with a gold or red border. From the waist, a pleated material with concentric golden or saffron coloured bands graces the front half of the sari. This adornment not only allows the artist to do her extraordinary footwork with greater flexibility, but it also draws attention to it, enabling the audience to see it from afar.

Sources- Kapila Vatsyayan. INDIAN CLASSICAL DANCE. Publications Division. Kindle Edition.

NATYASHASTRA by Bharata Muni, translated into english by Manomohan Ghosh

https://www.culturalindia.net/indian-dance/classical/mohiniattam.html