Mohiniyattom

Mohiniyattom, expressing worship, has a tradition, soft and graceful, running down centuries. Its history goes to those days man began worshipping supernatural powers. Each village had a sacred grove, believed to be the home of the protector (goddess). Artists began to illustrate the goddess in pictures or colour carpet. Later choreographers are believed to have developed dance movements from these colour carpets and thus emerged the dance form.

In the beginning of the 20th century, Mohiniyattom, which was till then confined into the temple premises, faced an unprecedented crisis for want of promoters and patrons. Later Swathi Thirunal Maharaja, king of erstwhile Travancore, breathed fresh life into the dance form making it popular. Mohiniyattom along with other dance forms enjoyed royal patronage during his regime.

Though bewitching and captivating, qualities expressed in Mohiniyattom are noble, dignified. Tradition says the dance of the enchantress creates chaos for evil doers and pleasure and ecstasy for the righteous.

A solo performance of a woman who stands in grace, dignity and pure aesthetic pleasures. The rasa sentiment evoked by the dance is said to be one of love.

Mohiniyattom is performed by women wearing gold-bordered off-white saris and gold jewellery, their hair in a chignon high on one side of the head and encircled with white jasmine flowers. From her neck hangs the serpent figure and from ankles brass bells tinkle and forehead wear vermilion.

Mohiniyattom is performed by women wearing gold-bordered off-white saris and gold jewellery, their hair in a chignon high on one side of the head and encircled with white jasmine flowers. From her neck hangs the serpent figure and from ankles brass bells tinkle and forehead wear vermilion.

Performing Art

Ritual Art