The various features of lasya propounded in the major texts on dance and music summarize that lasya is a sukumara type of dance, especially practiced by women. It has sringara as its dominant rasa and is symptomatic of expressions of love and desire between a nayaka and nayika. It encompasses such emotions that enliven the facial features and expressions (mukhrag). Delicate angaharas, karanas and charis are expressed in a ‘vaidarbhya reeti’ (in the style of Vidarba).
(‘The story of lasya’ by Dr. Vibha Dadheech, Nartanam, Apr-July 2006)

Renaissance dances belong to the broad group of historical dances. The dances in these manuals are extremely varied in nature. They range from slow, stately dances (bassadance, pavane, almain) to fast, lively dances (galliard, coranto, canario). Some were choreographed, others were improvised on the spot. One dance for couples, a form of the galliard called lavolta, involved a rather intimate hold between the man and woman, with the woman being lifted into the air while the couple made a 3/4 turn. Other dances, such as branles, were danced by many people in a circle or line.

The present day mohiniyattom has evolved from the regional variation of dasiyattom which was prevalent in south India. This regional variation of dasiyattom was known as avinayakkoothu. The main feature of this dance is the rhythmic interpretation of the meaning of songs with hand gestures and body actions. The basic approach is the same in present day mohiniyattom as well. Here also the meaning of the song is brought out through the movements of eyes, brows, hand gestures and dance. The musical instruments used like the kuzhithalam, tudi, mukhaveena etc., are also the same. From avinayakkoothu to mohiniyattom it might have been a long process of evolution involving addition, elimination and experimentation.
(P J Cherian (Ed), Essays on the Cultural Formation of Kerala)

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