• Mohiniattam is one of the lesser-known of the eight Indian classical dance forms the other seven being Bharatnatyam, Katahak, Kathakali, Sattriya, Oddissi, Kuchipudi and Manipuri.
• Characterised by swaying and circular movements, the dance form is very slow in comparison to the others, going up to only the second speed, Madhyama, whereas a dance form like Kathak would go up to the fourth speed, Dhuta.
• It is one of the reasons that the dance has not been very popular with audiences.
• One of the other reasons that it is not as popular is because all of the songs Mohiniattam was performed to be sung in Malayali.

• Mohiniyattam has a legend attached to it as per Hindu mythology.
• It says that after the ocean of milk was churned jointly by the gods and the demons to extract the elixir of life, the demons took the divine brew by force.
• Following the incident, Lord Vishnu came to the rescue of the gods.
• He allured the demons by taking the form of a woman with outstanding beauty called Mohini and stole the elixir of life from them and handed it to the gods.
• The enticing acts of Mohini are reflected in the dance form of Mohiniyattam.
• At a time when the Devadasi tradition was prevalent in many parts of south India, Mohiniyattam used to be performed by Devadasis (temple dancers) in temples, during the rule of the Chera Kings from 9 to 12 C.E.

3.2. Evolution of Mohiniyattam

• This dance form also has elements of other performing art forms of Kerala viz. Koothu and Kutiyattam in it.
• Besides, Mohiniyattam also came under the influence of two other south Indian dance forms Bharatanatyam and Kathakali.
• Mohiniyattam in its early days went through ups and downs, which eventually got steadied during the reign of King Swathi Thirunal of the erstwhile Travancore kingdom.
• Apart from King Swathi Thirunal Rama Varma, Mohiniyattam received timely interventions which helped in getting its share of attention and popularity from the great Malayalam poet Vallathol Narayana Menon who is also the founder of Kerala Kalamandalam and the noted Mohiniyattam teacher, Kalamandalam, Kalayanikutty Amma.

3.3. Mohiniyattam themes, movements and mudras

• The dance form Mohiniyattam has love and devotion to God as its major themes, with usually Lord Vishnu or his incarnation Lord Krishna as the lead character.
• Mohiniyattam comprises about 40 different basic movements called adavukal and its performance style is marked by the swaying of hips and gentle movements with a straight body posture from side to side.
• This dance-like many other classical dance forms of India follows the sign language (mudra) as described in the ancient treatise on Hastha Lakshanadeepika to convey the story.
• These mudras are expressed through the fingers and palms of the hands.
• The musical accompaniment of the Mohiniyattam dance involves what is known as Chollu.
• The lyrics are in Manipravalam, which is a mixture of Sanskrit and Malayalam.
• The simple, yet elegant costume is one of the aspects that give Mohiniyattam a unique identity among classical dance forms of India.
• The attire for Mohiniyattam consists of a white sari, border with broad golden brocade (called kasavu in Malayalam).
• In Kerala, some centres offer training in Mohiniyattam.
• The Kerala Kalamandalam which is a deemed university is the premier centre in Kerala for learning classical art forms, where one can undergo training in Mohiniyattam.

For Prelims & Mains

"CORRUPT PRACTICES"  UNDER THE REPRESENTATION OF PEOPLE'S ACT 1951

• Section 123 of the Act defines ‘corrupt practices’ to include bribery, undue influence, false information, and promotion or attempted promotion of “feelings of enmity or hatred between different classes of the citizens of India on grounds of religion, race, caste, community, or language” by a candidate for the furtherance of his prospects in the election
• Section 123 (2) deals with ‘undue influence’ which it defines as “any direct or indirect interference or attempt to interfere on the part of the candidate or his agent, or of any other person, with the consent of the candidate or his election agent, with the free exercise of any electoral right.”
• This could also include threats of injury, social ostracism and expulsion from any caste or community.
• Moreover, convincing a candidate or an elector that they will become “an object of divine displeasure or spiritual censure” will also be considered an interference “with the free exercise of the electoral right of such candidate or elector.”
• Section 123 (4) extends the ambit of “corrupt practices” to the intentional publication of false statements which can prejudice the outcome of the candidate’s election
• Under the provisions of the Act, an elected representative can be disqualified if convicted of certain offences; on grounds of corrupt practices; for failing to declare election expenses; and for interests in government contracts or works.

• In 2017, a seven-judge constitution bench of the apex court headed by former Chief Justice TS Thakur in ‘Abhiram Singh v C.D. Commachen’ held that an election will be annulled if votes are sought in the name of a candidate’s religion, race, caste, community, or language, as per Section 123 (3) which prohibits the same
• In 1994, the Supreme Court’s ruling in ‘SR Bommai v. Union of India’, which otherwise held secularism to be a part of the ‘basic structure’, the court said, “whatever the attitude of the State towards the religions, religious sects, and denominations, religion cannot be mixed with any secular activity of the State
• The encroachment of religion into secular activities is strictly prohibited, the court stated while adding that the same is clear from sub-section (3) of Section 123 of the Representation of the People Act, 1951
• However, even as far back as 1955, the Apex Court in ‘Jamuna Prasad Mukhariya v. Lacchi Ram’ upheld the constitutional validity of Section 123 (3).