Odissi Classical Dance: Grace of Odisha

Introduction

Odissi, originating from the state of Odisha, is a classical dance form characterized by its fluid movements, intricate footwork, and expressive gestures. It has deep roots in Hindu mythology and temple traditions, often portraying stories of gods and goddesses.

Origin and Evolution of Odissi Classical Dance

• The Natya Shastra mentions the Odhra Magadha style as a precursor of modern Odissi.
• Odissi is known for its sensuous and lyrical nature, blending themes of love, passion, and divinity.
• It symbolizes the element of water. 
• Earlier, Maharis (originally temple dancers) were the custodians of Odissi, but the dance form later degenerated due to royal court employment.
• Gotipuas (young boys dressed as females) were trained in the dance form. They danced in the temples and also for general entertainment.

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Key Movement and Techniques of Odissi Classical Dance

• It is similar to Bharatnatyam in using Mudras and postures to express emotions. 
  • It is known as ‘mobile sculpture’ as the dancers create intricate geometrical shapes and patterns with their bodies. 
  • The ‘Tribhanga posture’, i.e. the three-banded form of the body, is innate to this dance form. [UPSC 2013]
• The movements are centred around the Chowk (masculine) and the Tribhanga (feminine) postures. 
  • Chowk resembles a square with a balanced body weight. 
  • Tribhanga displays deflection at the neck, torso, and knees.
• Leg movements follow spiral or circular patterns in the air or on the ground, showcasing the dance’s intricacy and precision.
• Hand gestures play a dual role: decorative embellishments in nritta and a means of communication in nritya.

Performance Structures of Odissi Classical Dance

• Odissi follows a systematic order of presentation, ensuring the desired emotional expression (rasa).
• Mangalacharan (Invocation): The performance commences with Mangalacharan, where the dancer enters with flowers and offers them to the earth. The item concludes with a nritta sequence featuring salutations to God, the Guru, and the audience.
• Batu (Basic Dance): It follows the fundamental nritta technique, emphasising the duality of the masculine and feminine. It is performed in praise of Batukeshwar Bhairav or Shiva.
• Pallavi (Ornamentation): It is the flowering and ornamentation of music and movements. The dance builds into intricate patterns, highlighting rhythmic variations within the tala structure.
• Abhinaya (Emotive Storytelling): Dancers also perform from the compositions of Jayadeva, Upendra Bhanja and Gopal Krishna. 

• Moksha (Liberation): It is a concluding item consisting of multiple Pallavi sections and Abhinaya-based items.
• Music and Costume:An Odissi orchestra includes a pakhawaj player (often the Guru), a singer, a flutist, a sitar or violin player, and a Manjira player. 
  • It is accompanied by Hindustani classical music.
  • Odissi dancers carry on the tradition of devadasis or maharis, aiming for liberation (moksha) through dance, reaffirming the art’s spiritual connection.
• Famous Proponents: Guru Pankaj Charan Das, Guru Kelu Charan Mohapatra, Sonal Mansingh etc.

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Conclusion

• Odissi, with its graceful movements and spiritual essence, serves as a vibrant expression of Odisha’s rich cultural heritage. Its intricate choreography and emotive storytelling continue to enchant audiences, ensuring the preservation and celebration of this ancient dance form.

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