Mohiniyattam, commonly misunderstood as having been the dance of Vishnu’s feminine alter-ego mohini, has a recent documented history although its roots may be traced back to the first chapters of south india’s cultural history. Mohiniyattam, a dance form that eludes grace both in the spectacle and in the mind of the audience has all the salient features of a solo classical form and yet has strong regional inklings in its technique and representation.
Although we do know that it existed before the time of Maharaja Swati Tirunal, it is only during his rule in the 19th century that the art form was deliberately brought centre-stage for a revival like its counterparts in other regions. Through the many beautiful musical compositions of the King for Mohiniyattam one gets the visual imagery that the form encapsulated. The musical form as we understand from his compositions was steeped in a particular narrative apt for the Mohini and its visualization imbibed the yearning aspect of the human soul whether as nayika (heroine) or bhakta (devotee) continuously emphasized in the Maharaja’s writings.
The Nalwars systemized the form but there is no evidence of what technique it assumed. The post Swathi Tirunal period witnessed the downfall of Mohiniyattam.
“The dance of the enchantress’ slipped into eroticism to satisfy the epicurean life of some provincial satraps and feudal lords.