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Alaivani celebrates diverse view points on holistic living – lifestyles that integrate the body, mind, and soul. Here you can learn about an American's integration of South Indian culture into daily American life, India travel diaries and Hindu Spirituality.

The name Pallavi Krishnan is synonymous with Mohiniyattam. One of the leading exponents of this art form, Pallavi started learning Mohiniyattam and Bharatanatyam at her early age. After graduating in Bio-science she joined at the Santiniketan (Viswabharati University) for the four-year dance graduation course with Kathakali and Manipuri, duly continuing her pursuits in Mohiniyattam and Bharatanatyam. From Santiniketan she has learnt Rabindra Sangeet too. After her graduation from Santiniketan, to specialise further on Mohiniyattam she came to Kerala and joined at the Kerala Kalamandalam. After completing her two year course from the Kalamandalam she underwent further training under various Gurus of her art form. She was awarded the scholarship of the Government of India, Department of Culture, for higher studies in Mohiniyattam. She was the recipient of the grant of the Govt. of India, Dept. of Culture, for choreographing Nobel laureate Rabindranath Tagore's Rituranga as dance drama in Mohiniyattam style set to Rabindra Sangeet. She won the fellowship of the Govt. of India, Ministry of Human Resource Development, to choreograph Mohiniyattam items set to Sopana Sangeetam (Kerala Music) and to popularise it. Currently she is on this project under the guidance of Kavalam Narayana Panicker.

Just a quarter of a century ago Mohini Attam had reached a point where only a few items from its once rich repertoire were remembered. Under a research grant from Sangeet Natak Academy, Kanak toured extensively in Kerala to gather as much material as possible on Mohini Attam by meeting scholars, connoisseurs and surviving exponents. A subsequent grant in 1970-71 from The Ford Foundation enabled her to film the traditional dances of the surviving exponents of Mohini Attam; late Smt. Kunjukuttyamma, late Smt. Chinammuamma and Smt. Kalyanikuttyamma. She has analyzed this recorded data with diligent care in light of the `shastric' tenants and arrived at an authoritative format for the technique of Mohini Attam.