The present form of Mohini Atyam, as we see today, was not founded long ago. But the origin of this dance form dates back to the hoory antiquity according to many pundits. In ancient India, the ‘Dasi Atyam’ form of dance in temples was very popular. It was performed by the hapless ‘Devdasis’ who dedicated to God at a tender age. These women, apparently dedicated to the deities, were used as instruments of pleasure by some carnalistic upper caste people who held power and prestige in the society. Such Devdasis remained confined within the premises of the temple. They used sing and dance to please the ‘Gods’, and as mentioned earlier, their dance was branded as ‘Dasi Atyam’. This is believed by many researches to be the progenitor of Mohini Atyam of today. In those days, the Arya scholars and Brahmins who were exponents of the ‘Vedas’ and the ‘Upanishads’ had indulged in several perversions. Since they were enjoying all powers and privileges in the society, these people inducted many of their vices, superstitions and ways of life in the society or more precisely the lives of the commonalty.
Accordingly, the monarchs of Kerala established some stupendous temples where the deities were worshipped according to ‘Tantri’ method typified by the Aryans which involved a lot of dancing and singing by the Devdasis. Following this method of worship, the woman employed in such religious services were highly honoured and respected by the society. Many people even felt inclined to dedicate their daughters to the Gods as ‘Devdasis’ in the temples. In Kerala, the Devdasis were known as ‘Teviticchis.’
The word ‘Mohini’ is found in the Puranas. Anent to it, it is said about Mohini Atyam, “Mohini, it may be remembered, celebrated enchantress of Hindu mythology who had many a God and ascetic practically eat out of her hand. It is understandable, therefore, that Mohiniyattam, which means the dance of Mohini, has a preponderance of the sensual element and carries an endearing vivacity that sometimes verges on coquettishness.”
The themes of most of the South Indian dances are more or less the some. Mohini Atyam has often relied on several branches of literature for its source of sustenance. However, most of the themes dealt with love, union and languishment of men and women. The intense desire and longing for union often culminated in ‘devine union’ according to critics. The steps, gestures, expressions and body language in Mohini Atyam were conspicuous exercises in love and courtship rather than copulation. The dancers were mostly interested in depicting the verses from ‘Meghdoot’ and ‘Geeta Govinda’ in their dances. Geeta Govinda was preferred the most because the spectators used to get saturated in the deluge of spiritual ecstasy. Hence, the spiritual essence of the ethereal love of Lord Krishna and Sri Radha not only imbued Mohini Atyam but also glorified it.