Odissi, one of the eight classical dances of India, traces its origin to the temples of Odisha. Initially, it was performed in the temples of Puri, Konark and Bhubaneswar by ‘Maharis’, women who dedicated their lives to serve God. Sage Bharat’s Natya Shastra of second century CE contains references to ‘Odra-Magadhi’, the region of Eastern India where they called Odissi ‘Udra Nrutya’. The status of Maharis in society steadily declined through the medieval era and finally, the British prohibited temple dancing. The twentieth century witnessed the revival of Odissi as a respectable and stylized dance form. (Srjan, n.d.), (Rudrakshya Foundation, 2009)
There are three main styles of Odissi, each named after the founding guru. The gurus are Pankaj Das, Debaprasad Das and Kelucharan Mohapatra. Guru Pankaj was instrumental in bringing Odissi from the temple to the proscenium stage (Patnaik, 2014). Guru Debaprasad was the first guru to travel across the world and spread his knowledge of Odissi (Khokar, 2010). Guru Kelucharan, the most well-known of the three, established the systematic and scientific foundation of modern Odissi.
Courtesy: CCRT
Odissi is an aesthetic dance form with characteristic body movements, gestures and facial expressions. The poses resemble sculptures found in the temples of Odisha. The basic postures are the square pose or ‘Chowk’ and the three-bend pose or ‘Tribhangi’. Understanding the technique involves awareness of body balance, breathing and practicing steps. Each step combines footwork, hand gestures and torso movement, an element unique to Odissi. ‘Nava Rasa’, the nine primary feelings are expressed with various eye, head and neck movements.
Adornment, from the traditional sari and jewellery, to the fine make-up is an integral aspect for any stage performer. The costume is made from a traditional Sambalpuri silk sari and the ornamentation is the typical filigree jewellery of Odisha. The hair is tied into a bun and the head-dress, symbolizing a temple spire, is worn on it (Odissi, n.d.). The make-up of an Odissi dancer includes a red Bindi and elaborate eye make-up that stands out on stage.
A typical performance repertoire commences with an invocation and concludes with a prayer for salvation. ‘Mangalacharan’ is an auspicious beginning with a prayer and a salutation to God, the Guru and the audience. This is followed by pure dances, Batu and Pallavi, where the dancer performs to a particular tune and rhythm. An expressive dance or ‘Abhinay’ is the enactment of a poem or a song in Sanskrit or Odia. The recital is concluded with ‘Moksh’, in which the dancer pays a final obeisance to God and is liberated.
The legacy of this beautiful and sensuous dance form is being carried forward by many notable dancers across the world. The late Sanjukta Panigrahi, Ratikant Mohapatra, Ileana Citaristi, Madhavi Mudgal and Sujata Mohapatra are a few famous exponents. Professional dance ensembles like Nrityagram, Bangalore and Srjan, Bhubaneswar have performed world over and won many accolades. Odissi is now recognized as one of the finest dance forms of the world and is constantly evolving to preserve its rich heritage.
Reference List
1. Srjan, (n.d.). Odissi Dance. http://www.srjan.com/odissi_dance.php
2. Rudrakshya Foundation (2009). History of Odissi Dance. http://www.rudrakshyafoundation.com/history.php
3. Patnaik, Sutapa (2014, January 21). Guru Pankaj Charan Das: A Life- Timeless and Boundless. Narthaki. http://www.narthaki.com/info/profiles/profl157.html
4. Khokar, Ashish Mohan (2010, November 6). Guru Deba Prasad Das: Guru of Global Orissi. The Dance History Column. Narthaki. http://www.narthaki.com/info/tdhc/tdhc23.html
5. Odissi, (n.d) from Wikipedia. https://en.wikipedia.org/wiki/Odissi
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