The writer asserts, a slew of treatises of yore and temple inscriptions are enough indications of the numerous dance forms staged in temples, the traditions of which might have influenced the evolution of Mohiniyattam. In Kerala Devadasi was known by the general name Tevadichi which means “a woman who serves at the feet of god”....
Sankaracharya mentions the lasya or grace of the Goddess in several of his verses, while the recurring theme of Mohiniyattam - the pain of a Nayika separated from the Nayaka, can be metaphorically compared to Jīvātma yearning to be reunited with the Paramātma.
The manuals for several Kerala art forms like Koodiyāṭṭaṁ and Nangiārkūttụ are said to have been formed during the age of the Kulasekharas, who followed the Chera dynasty in Kerala. The current day Mohiniyattam can be considered a dance form in the lasya style which imbibed the core principles of many ancient dance forms of Chera influence
The author traces the origins of dance forms involving solo performances by women, such as Mohiniyattam, Thiruvathirakkali and Nangiarkoothu, to folk art forms revolving around the worship of the Mother Goddess and kavus (sacred groves) Dance forms rooted in folk cultures The worship of Mother Goddess existed through the length and breadth of Kerala in...
There are distinct similarities between the lasya movements and the juggling techniques with a ball, described in the dance performances in the seventh century work Daśhakumāracharitaṁ, and Kerala dance forms like Mohiniyattam and Thiruvathirakkali.