Art & Culture Prelims Question

Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala.
According to a Puranic story, Lord Vishnu took on the guise of a ‘Mohini’ to seduce the Asuras, both in connection with churning of the ocean and episode of the slaying of Bhasmasura.
The delicate body movements and subtle facial expressions are more feminine in nature and therefore, are ideally suited for performance by women.
References of Mohiniyattam can be found in the texts Vyavaharamala, written in 1709 by Mazhamagalam Narayanan Namputiri and in Ghoshayatra, written later by the great poet Kunjan Nambiar.
This dance form of Kerala was structured into the present day classical format by the Travancore kings, Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal (18th -19th century C.E.).
Mohiniyattam, as seen today, has evolved through a long process of evolution. It traces its origin to the temples of Kerala.
Though the exact period of its origin is not known, there are evidences to prove the existence of a community of female temple dancers, who assisted the temple rituals by adding expressive gestures to the mantras chanted by the temple priests.
The dancers were called by different names during different periods of time.
They were called as Tai Nangai or Nangachi (one with beautiful hand), Dasi (servant), Tevitichi or Deva-Adi-Achi (the one who served at the feet of the Lord) and Koothachi (who performed koothu or dance).
Their dances were known as ‘Nangai Natakam, Dasiyattam, Tevitichiyattam, etc.
The Nangiars, who are the women folk of Nambiar community, still follow a strict code of dance, performed in a small performing space, within the temple precincts, as practised in the olden times.

Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala.
According to a Puranic story, Lord Vishnu took on the guise of a ‘Mohini’ to seduce the Asuras, both in connection with churning of the ocean and episode of the slaying of Bhasmasura.
The delicate body movements and subtle facial expressions are more feminine in nature and therefore, are ideally suited for performance by women.
References of Mohiniyattam can be found in the texts Vyavaharamala, written in 1709 by Mazhamagalam Narayanan Namputiri and in Ghoshayatra, written later by the great poet Kunjan Nambiar.
This dance form of Kerala was structured into the present day classical format by the Travancore kings, Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal (18th -19th century C.E.).
Mohiniyattam, as seen today, has evolved through a long process of evolution. It traces its origin to the temples of Kerala.
Though the exact period of its origin is not known, there are evidences to prove the existence of a community of female temple dancers, who assisted the temple rituals by adding expressive gestures to the mantras chanted by the temple priests.
The dancers were called by different names during different periods of time.
They were called as Tai Nangai or Nangachi (one with beautiful hand), Dasi (servant), Tevitichi or Deva-Adi-Achi (the one who served at the feet of the Lord) and Koothachi (who performed koothu or dance).
Their dances were known as ‘Nangai Natakam, Dasiyattam, Tevitichiyattam, etc.
The Nangiars, who are the women folk of Nambiar community, still follow a strict code of dance, performed in a small performing space, within the temple precincts, as practised in the olden times.

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