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The article explores the sociocultural construction of aesthetic identities and the ways in which the dominant ideologies have perpetuated specific narratives of the development of Mohiniyattam. Drawing on Michel Foucault’s concept of ‘episteme’ and Judith Butler’s theory of gender performativity, the study examines the femininity embodied in Mohiniyattam and argues that the dance form has been a tool for patriarchal ideologies, transmitted through generations of dancers manifested in their performance practice. The analysis extends to the contemporary scope of Mohiniyattam, questioning the rigid notion of femininity that has defined the dance form through erotic expressions of the dancer and exploring how innovative choreographies and performative interpretations can challenge such norms. The study uses oral histories and case studies to present a multifaceted view of Mohiniyattam’s historical evolution as a dance form. The revival of Mohiniyattam at different times reflects the dominant epistemes, marked by an embedded male gaze on the female dancing body. The performers’ own initiatives reframed the concept of femininity and its portrayal by exploring the potential of the trained dancing body.