Professional Documents
Culture Documents
Mohini refers to a divine enchantress or a supreme seductress. She appears in Hindu mythologies during a
battle between Devas (good) and Asuras (evil), after the evil had won control of Amrita (nectar of
immortality). Appearing in her youthful bloom, dressed rapturously she uses her charms to seduce the
Asuras, who seeking her favors, give her the Amrita to distribute among the evil forces. Mohini after
gaining the Amrita gives it to the good instead, depriving the evil from gaining immortality.[1][5]
The details of the Mohini story varies by the Purana and region, but she is
consistently an enchantress avatar of the supreme in Vaishnavism. Aattam is
a Malayalam language word, and means rhythmic motion or dance. It is a
corruption of the sanskrit word Nātyam[15] Mohiniyattam thus connotes "a
dance of an enchantress, a beautiful woman".[5][15][16]
History
Mohiniyattam is a classical Indian dance,[17]
which by definition traces its repertoire to the
foundational text Natya Shastra.[6] The Natya
Shastra text is attributed to the ancient scholar
Bharata Muni.[18][19][20] Its first complete
compilation is dated to between 200 BCE and
Mohiniyattam.
200 CE,[21][22] but estimates vary between
500 BCE and 500 CE.[23] The text describes
the basic elements and the structure of two types of dance: the vigorous,
high energy Tāṇḍava dance (Shiva) and the gentle, calmingly graceful Mohiniattam dancer
Lāsyā dance (Parvati, Shiva's lover).[8] Mohiniyāttam follows the structure Sunanda Nair in motion.
and aims of the Lāsyā dance in Natya Shastra.[2][8]
According to Reginald Massey, Mohiniyattam's history is unclear.[5] Kerala, the region where this dance
genre developed and is popular, has a long tradition of lasya style dances whose basics and structure may
be at the root. The earliest evidence of Mohiniyattam, or a Mohiniyattam-like dance tradition is found in
temple sculpture of Kerala. The 11th century Vishnu temple at Trikodithanam, and the Kidangur
Subramanya temple, have several sculptures of female dancers in Mohiniyattam pose.[24] The textual
evidence from 12th century onwards suggest that Malayalam poets and playwrights included Lāsyā themes.
The 16th century Vyavaharamala by Nambootiri contains the first known mention of the term
Mohiniyattam, in the context of a payment to be made to a Mohiniyattam dancer.[13] Another text, Gosha
Yatra, from the 17th century too mentions the term.[13] The 18th century Balarama Bharatam, a major
secondary work on Natya Shastra composed in Kerala, mentions many dance styles including Mohini
Natana.[13]
In the 18th and 19th century, Mohiniyattam grew as dance arts received patronage of competing princely
states. In particular, the early 19th century sponsorship and building of a joint Mohiniyattam and
Bharatanatyam team of artists by the Hindu king, poet and music composer Swathi Thirunal Rama Varma
contributed to the growth and systematization of modern Mohiniyattam.[8][25]
In the late 19th and early 20th century, Mohiniyattam was performed by women in the Nayar community, a
community in central Kerala.[26] According to Justine Lemos, Mohiniyattam "was a celebration of
eroticism, fertility, wealth and hospitality".[26]
Colonial era
With the spread of colonial British rule in the 19th century India, all classical dance forms of India were
ridiculed and discouraged, leading to their severe decline.[27][28] This was in part the result of the Victorian
morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism.[29][30]
In the 19th century, Mohiniyattam dance was part of three marriage rituals. They were thali-kettu-kalyanam
(marriage thread-marriage), tirandukalyanam (menstrual marriage), and sambhandam (marriage like ritual or
informal alliance). It served to keep social balance of castes within society at the time. After Mohiniyattam's
stigmatization, the three marriage rituals were deduced to one called kalyanam. Social reformers eventually
changed the entire marriage ritual to an institution influenced by the British through a series of laws.[26]
The seductive gestures and facial expressions during temple dances were
caricatured in The Wrongs of Indian Womanhood, published at the start of the
20th century, as evidence of "harlots, debased erotic culture, slavery to idols
and priests" tradition, and Christian missionaries demanded that this must be
stopped, launching the "anti-dance movement" or "anti-nautch movement" in
1892.[29][30][31] This movement affected all classical dances in India and
contributed to their decline,[29][30] including the stigmatization of
Mohiniyattam in the princely states of Travancore and Cochin in the British
Empire.[32][33]
Some women continued to dance Mohiniyattam in Hindu temples, regardless of the historic politics during
the 1940s.[35]
Modern era
The ridicule and bans enacted during the British colonial era contributed to nationalist sentiments, and
impacted all Hindu performance arts including Mohiniyattam. It too was revived and reconstructed,
particularly in the 1930s by the nationalist Malayalam poet Vallathol Narayana Menon, who helped repeal
the ban on temple dancing in Kerala, as well as established the Kerala Kalamandalam dance school and
encouraged Mohiniattam studies, training and practice.[36][37]
Other significant champions of Mohiniyattam in the 20th century have been Mukundraja, Appiradeth
Krishna Panicker, Harichand and guys from Vishnavam,Thankamony, as well as the guru and dancer
Kalamandalam Kalyanikutty Amma.[38][39]
Repertoire
Mohiniyattam is a lasya subgenre of dance, performed in the Kaisiki vritti
(graceful style), as discussed in ancient Indian performance arts texts such as
the Natya Shastra.[40] More specifically, it is a dance that excels in Ekaharya
Abhinaya form, that is a solo expressive dance performance aided by singing
and music.[8] The dance includes nritta (pure dance, solo), nritya (expressive
dance, solo) and modern productions sometimes include natya (play, group
dance):[41] Expression of an artist
The basic posture of Mohiniyattam is parted feet, knees bent outwards, an erect upper torso, gentle 8-shape
side to side swaying of body along with hips (Ati Bhanga).[46] The footwork is soft, sliding and
synchronous with the musical beat and acting.[46] The body movement is sometimes described in terms of
calming images of nature as the swinging of the palm leaves,[47] and the gentle undulating of ocean
waves.[48]
The basic dance units in Mohiniattam are known as atavus or atavukal, and these are grouped into four:
Taganam, Jaganam, Dhaganam and Sammisram.[49] The hand and facial gestures of the dance follow the
classical text of Hastha Lakshanadeepika, which has elaborate description of mudras.
Sequence
The repertoire sequence of Mohiniyattam is similar to that of Bharatanatyam, so of contains seven items
that are performed to a structure described in classical dance texts: Cholkettu (invocation, but starts with
offering reverence to a goddess Bhagavati and ends with a prayer to Shiva), Jatisvaram or more precisely
Swarajeti, Varnam (a play wherein she embeds a mimicry for distraction while communicating the
underlying story or message), Padam (song), Tillana (dancer's interpretation of melody the musician create),
Shlokam and Saptam.[41][50]
Costumes
The costume includes plain white or off-white such as ivory or cream colored sari embroidered with bright
golden or gold laced colored brocade (similar to a ceremonial Kasavu saree).[51][52] She wears a fitted choli
(blouse) matching the sari, below which at the waist is a golden belt which tucks in the end of the sari, and
highlights the waist.[51] In front of the saree, below the belt is pleated sheet with concentric bands in gold
or saffron colors, which allow freedom of movement and assist in visually communicating the mudra to
distant audience.[51]
The dancer wears relatively simple jewelry and no masks, in contrast to the other major classical dance of
Kerala called Kathakali. Her jewelry typically includes items on fingers, wrists, neck and ears (which may
have bells). The face makeup is natural, but lips are brilliant red, she has the Hindu tikka (Gobi) on her
forehead and her eyes are lined to help prominently highlight the eye movements during the dance.[51] Her
ankles are adorned with leather straps with bells (chilanka), feet and fingers
colored red with natural dyes. Her hairdo is gathered and tied into a smooth
tight round chignon on one side of her head (typically left) and the bun then
ringed with fragrant flowers (typically jasmine mulla).[51][53]
For male dancers, they typically wear a dhoti (called the muti). Like women,
his ankles are also adorned with chilankas, feet and fingers colored red with
natural dyes. Like women, he also has the Hindu tikka (Gobi) on his
forehead and his eyes are lined.[54]
Gallery
References
1. James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M (https://archive.o
rg/details/illustratedencyc0000loch). The Rosen Publishing Group. p. 433. ISBN 978-0-
8239-3179-8.
2. Mohini Attam (https://www.britannica.com/art/mohini-attam), Encyclopædia Britannica (2016)
3. James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M (https://archive.o
rg/details/illustratedencyc0000loch). The Rosen Publishing Group. p. 359. ISBN 978-0-
8239-3179-8.
4. Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An
Encyclopedia (https://books.google.com/books?id=ienxrTPHzzwC). Routledge. pp. 332–
333. ISBN 978-0-415-93919-5.
5. Reginald Massey 2004, pp. 131–133.
6. James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: N-Z (https://archive.o
rg/details/illustratedencyc0000loch). The Rosen Publishing Group. pp. 467 (https://archive.o
rg/details/illustratedencyc0000loch/page/467). ISBN 978-0-8239-3180-4., Quote: "the
Natyashastra remains the ultimate authority for any dance form that claims to be 'classical'
dance, rather than 'folk' dance".
7. James B. Robinson (2009). Hinduism (https://books.google.com/books?id=GmQ_yp4vVhsC
&pg=PA103). Infobase Publishing. pp. 103–105. ISBN 978-1-4381-0641-0.
8. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 6, 44–48. ISBN 978-81-7062-003-7.
9. Viswanathan, Manoj (7 October 2020). "Renowned classical dancer attempts suicide,
alleges caste, gender discrimination" (https://www.newindianexpress.com/states/kerala/202
0/oct/07/renowned-classical-dancer-attempts-suicide-alleges-caste-gender-discrimination-2
206812.html). The New Indian Express. Retrieved 6 February 2022.
10. "Muslim man becomes first male dancer to get PhD in Mohiniyattam" (https://www.hindustant
imes.com/art-and-culture/muslim-man-becomes-first-male-dancer-to-get-phd-in-mohiniyatta
m/story-Cs97GRMmjfehsG0aem7KCK.html). 13 January 2015.
11. Anand, Shilpa Nair (3 March 2020). "RLV Ramakrishnan's love for Mohiniyattam" (https://ww
w.thehindu.com/entertainment/dance/not-many-men-learn-mohiniyattam-rlv-ramakrishnan-is
-one-of-the-few-who-do/article30969816.ece). The Hindu.
12. "What stops men from performing mohiniyattam? - Times of India" (https://timesofindia.com/li
fe-style/spotlight/what-stops-men-from-performing-mohiniyattam/articleshow/78532554.cm
s). The Times of India. 7 October 2020.
13. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 44–45. ISBN 978-81-7062-003-7.
14. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
pp. 35–43. ISBN 978-1-4985-0552-9.
15. KR Kavya Krishna (2015). Saugata Bhaduri and Indrani Mukherjee (ed.). Transcultural
Negotiations of Gender: Studies in (Be)longing (https://books.google.com/books?id=lgyVCg
AAQBAJ). Springer. pp. 125–126. ISBN 978-81-322-2437-2.
16. Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993, p. 471.
17. Williams 2004.
18. Mohan Khokar (1984). Traditions of Indian classical dance (https://books.google.com/book
s?id=prjnAAAAMAAJ). Clarion Books. pp. 57–58. ISBN 9780391032750.
19. Schramm, Harold (1968). "Musical Theatre in India". Asian Music. University of Texas Press.
1 (1): 31–40. doi:10.2307/834008 (https://doi.org/10.2307%2F834008). JSTOR 834008 (http
s://www.jstor.org/stable/834008).
20. Coorlawala, Uttara Asha (1993). "The Toronto conference on "new directions in Indian
dance" ". Dance Chronicle. Routledge. 16 (3): 391–396. doi:10.1080/01472529308569140
(https://doi.org/10.1080%2F01472529308569140).
21. Natalia Lidova 2014.
22. Tarla Mehta 1995, pp. xxiv, 19–20.
23. Wallace Dace 1963, p. 249.
24. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 7–10. ISBN 978-81-7062-003-7.
25. Siyuan Liu (2016). Routledge Handbook of Asian Theatre (https://books.google.com/books?i
d=H1iFCwAAQBAJ&pg=PA132). Routledge. p. 132. ISBN 978-1-317-27886-3.
26. Lemos, Justine (2022). Tradition and transformation in Mohiniyattam dance : an
ethnographic history (https://www.worldcat.org/oclc/1328019675). Lanham. pp. 20–22.
ISBN 978-1-7936-5071-9. OCLC 1328019675 (https://www.worldcat.org/oclc/1328019675).
27. Leslie C. Orr (2000). Donors, Devotees, and Daughters of God: Temple Women in Medieval
Tamilnadu (https://books.google.com/books?id=F___xKcP8lMC). Oxford University Press.
pp. 11–13. ISBN 978-0-19-535672-4.
28. Reena Shah (2006). Movement in Stills: The Dance and Life of Kumudini Lakhia (https://boo
ks.google.com/books?id=sSKU2DROHMgC&pg=PA8). Mapin. pp. 8–9. ISBN 978-81-
88204-42-7.
29. Mary Ellen Snodgrass (2016). The Encyclopedia of World Folk Dance (https://books.google.
com/books?id=DMGpDAAAQBAJ). Rowman & Littlefield. pp. 165–168. ISBN 978-1-4422-
5749-8.
30. Margaret E. Walker (2016). India's Kathak Dance in Historical Perspective (https://books.goo
gle.com/books?id=nC83DAAAQBAJ&pg=PA94). Routledge. pp. 94–98. ISBN 978-1-317-
11737-7.
31. Nalini Ghuman (2014). Resonances of the Raj: India in the English Musical Imagination,
1897-1947 (https://books.google.com/books?id=BkVZAwAAQBAJ&pg=PA97). Oxford
University Press. pp. 97 footnote 72. ISBN 978-0-19-931489-8.
32. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
pp. 29–31, 33–34, 41, 44–45. ISBN 978-1-4985-0552-9.
33. Kay Kirkpatrick Jordan (2003). From Sacred Servant to Profane Prostitute: A History of the
Changing Legal Status of the Devadāsīs in India, 1857-1947 (https://books.google.com/book
s?id=i3jXAAAAMAAJ). Manohar Publishers. pp. 2–17. ISBN 978-81-7304-468-7.
34. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
pp. 35–36, 38–45. ISBN 978-1-4985-0552-9.
35. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
pp. 42–43. ISBN 978-1-4985-0552-9.
36. Kavya Krishna, K. R. (2016). "Gender and Performance: The Reinvention of Mohiniyattam in
Early Twentieth-Century Kerala". Transcultural Negotiations of Gender. Springer. pp. 123–
133. doi:10.1007/978-81-322-2437-2_12 (https://doi.org/10.1007%2F978-81-322-2437-2_1
2). ISBN 978-81-322-2436-5.
37. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
pp. 43–47. ISBN 978-1-4985-0552-9.
38. Justine Lemos (2016). Maratt Mythili Anoop and Varun Gulati (ed.). Scripting Dance in
Contemporary India (https://books.google.com/books?id=8aE8CwAAQBAJ). Lexington.
p. 38. ISBN 978-1-4985-0552-9.
39. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. p. 49. ISBN 978-81-7062-003-7.
40. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. vi, 50. ISBN 978-81-7062-003-7.
41. Nirmmalā Paṇikkar (1992). Nangiar Koothu, the classical dance theatre of the Nangiars (http
s://books.google.com/books?id=VGF2AAAAIAAJ). Kutiyattam Series. Natana Kairali.
pp. 38–39.
42. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 56–59, 64, 84–86, 103–106. ISBN 978-
81-7062-003-7.
43. Ellen Koskoff (2008). The Concise Garland Encyclopedia of World Music: The Middle East,
South Asia, East Asia, Southeast Asia (https://books.google.com/books?id=73MO0eiQD_EC
&pg=PA955). Routledge. p. 955. ISBN 978-0-415-99404-0.
44. Janet Descutner (2010). Asian Dance (https://books.google.com/books?id=8tCYjXOtkdgC).
Infobase. pp. 45–46. ISBN 978-1-4381-3078-1.
45. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 72–73. ISBN 978-81-7062-003-7.
46. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 50–53, 59. ISBN 978-81-7062-003-7.
47. Erin B. Mee (2001). Drama Contemporary: India (https://books.google.com/books?id=G-FjA
AAAMAAJ). Johns Hopkins University Press. p. 93. ISBN 978-0-8018-6621-0.
48. Geeta Radhakrishna (1979). Splendours of Kerala (https://books.google.com/books?id=_dm
fAAAAMAAJ). Marg Publications. p. 101.
49. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 56–59, 102–103. ISBN 978-81-7062-
003-7.
50. Ragini Devi 1990, pp. 116–117.
51. Reginald Massey 2004, p. 134.
52. Shovana Narayan (2004). The Sterling Book of Indian Classical Dances (https://books.googl
e.com/books?id=vxBq4xq94ZYC). Sterling Publishers. p. 65. ISBN 978-1-84557-169-6.
53. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 97–99. ISBN 978-81-7062-003-7.
54. "RLV Ramakrishnan's Case Shows the Rampant Casteism in Classical Performing Arts" (htt
ps://feminisminindia.com/2020/10/16/rlv-ramakrishnan-akademi-kpac-lalitha/). 15 October
2020.
55. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 44, 80, 110. ISBN 978-81-7062-003-7.
56. Siyuan Liu (2016). Routledge Handbook of Asian Theatre (https://books.google.com/books?i
d=H1iFCwAAQBAJ&pg=PA132). Routledge. pp. 131–132. ISBN 978-1-317-27886-3.
57. Bharati Shivaji; Avinash Pasricha (1986). The Art of Mohiniyāttam (https://books.google.com/
books?id=jpxbZZVGNxUC). Lancer Publishers. pp. 79–90. ISBN 978-81-7062-003-7.
Bibliography
Ambrose, Kay (1984). Classical Dances and Costumes of India. Palgrave Macmillan.
Wallace Dace (1963). "The Concept of 'Rasa' in Sanskrit Dramatic Theory". Educational
Theatre Journal. 15 (3): 249–254. doi:10.2307/3204783 (https://doi.org/10.2307%2F320478
3). JSTOR 3204783 (https://www.jstor.org/stable/3204783).
Ragini Devi (1990). Dance Dialects of India (https://archive.org/details/dancedialectsofi0000
ragi). Motilal Banarsidass. ISBN 978-81-208-0674-0.
Natalia Lidova (1994). Drama and Ritual of Early Hinduism (https://books.google.com/book
s?id=3TKarwqJJP0C). Motilal Banarsidass. ISBN 978-81-208-1234-5.
Natalia Lidova (29 September 2014). "Natyashastra" (https://www.oxfordbibliographies.com/
display/document/obo-9780195399318/obo-9780195399318-0071.xml). In Hiltebeitel, Alf
(ed.). Oxford Bibliographies: Hinduism. Oxford University Press.
doi:10.1093/obo/9780195399318-0071 (https://doi.org/10.1093%2Fobo%2F978019539931
8-0071). ISBN 9780195399318. OCLC 813225499 (https://www.worldcat.org/oclc/81322549
9).
Reginald Massey (2004). India's Dances: Their History, Technique, and Repertoire (https://b
ooks.google.com/books?id=t6MJ8jbHqIwC). Abhinav Publications. ISBN 978-81-7017-434-
9.
Tarla Mehta (1995). Sanskrit Play Production in Ancient India (https://books.google.com/boo
ks?id=l7naMj1UxIkC). Motilal Banarsidass. ISBN 978-81-208-1057-0.
Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of
Performance (https://books.google.com/books?id=OroCOEqkVg4C). Motilal Banarsidass.
ISBN 978-81-208-0981-9.
Emmie Te Nijenhuis (1974). Indian Music: History and Structure (https://books.google.com/b
ooks?id=NrgfAAAAIAAJ). BRILL Academic. ISBN 90-04-03978-3.
Kapila Vatsyayan (1977). Classical Indian Dance in Literature and the Arts. Sangeet Natak
Akademi. OCLC 233639306 (https://www.worldcat.org/oclc/233639306)., Table of Contents
(http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf)
Kapila Vatsyayan (1974). Indian Classical Dance. Sangeet Natak Akademi. OCLC 2238067
(https://www.worldcat.org/oclc/2238067).
Kapila Vatsyayan (2008). Aesthetic Theories and Forms in Indian Tradition. Munshiram
Manoharlal. ISBN 978-8187586357. OCLC 286469807 (https://www.worldcat.org/oclc/2864
69807).
Kapila Vatsyayan (2001). Bharata, the Nāṭyaśāstra (https://books.google.com/books?id=zK
W1PAAACAAJ). Sahitya Akademi. ISBN 978-81-260-1220-6.
Kapila Vatsyayan (2012) [1982]. Dance in Indian Painting (https://books.google.com/books?i
d=58fUibaZdGYC). Abhinav Publications. ISBN 978-81-7017-153-9.
Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian
Dancing" (http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf) (PDF).
Visual Anthropology. Routledge. 17 (1): 69–98. doi:10.1080/08949460490274013 (https://do
i.org/10.1080%2F08949460490274013). S2CID 29065670 (https://api.semanticscholar.org/
CorpusID:29065670).
External links
Media related to Mohiniyattam at Wikimedia Commons