Swathi Thirunnal structured and systematised Mohiniyattam. However, in the 19th-century the art form lost its dignity and was ostracized by the public.
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The purpose of Parivritta trikonasana is to stretch the muscles of the back of the thigh (hamstrings) and help the hip joints (adductor muscles) to facilitate adavus.
Kunchan Nambiar’s poetry and references to aesthetics accentuate Mohiniyattam’s repotire
Practising and gaining proficiency over Vrikshasana leads to the stability of both the mind and body.
Even though the 16th-Century literature Vyavaharamala mentioned Mohiniyattam, it was Kunchan Nambiar in the 18th Century who first described the costumes and movements of the art form.
A dancer should at first learn to stand that imparts an aesthetic sense to her stature. Thadasana helps to accomplish it.
Mohiniyattam or a similar dance form was mentioned in 16th-century literature Vyavaharamala and the historical records of the Travancore rulers.
Vasundhara Doraswamy, renowned guru and exponent of Bharatanatyam and yoga, is a torchbearer of Pandanallur style of the art form. India Art Review will be publishing…
A slew of treatises of yore and temple inscriptions are enough indications of the numerous dance forms staged in temples.
andalam Satyabhama was instrumental in the revival of Mohiniyattam, and her contributions serve as the base for the Kalamandalam style of the art form.