Odissi
Odissi (or Orissi) is the traditional style of dance which originated in the temples of the state of Orissa in Eastern India, where it was performed by the devadasis.
History
It is one of the oldest surviving forms of dance, with depictions of Odissi dancing dating back as far as the 1st century BC.
Like other forms of Indian classical dance, the Odissi style traces its
origins back to antiquity. Dancers are found depicted in bas-relief in
the hills of Udaygiri (near Bhubaneswar) dating back to the 1st century BC. The Natya Shastra speaks of the dance from this region and refers to it as Odra-Magadhi.
Over the centuries two schools of Odissi dance developed: Mahari, and Gotipua. The Mahari tradition is similar to the devadasi tradition; these are women who are attached to deities in the temple.
Gotipua is a style characteristed by the use of young boys dressed up
in female clothing to perform female roles which was a result of
Vaishnava philosophy in Orissa in the 16th century.
Odissi dance was held in high esteem before the 17th century.
Nobility were known for their patronage of the arts, and it was not
unheard of for royalty of both sexes to be accomplished dancers.
However, after the 17th century, the social position of dancers began
to decline. Dancing girls were considered to be little more than
prostitutes, and the "Anti-Nautch" movement of the British brought
Odissi dance to near extinction.
Before Independence, the position of Odissi dance was very bad. The tradition of dancing girls at the temple at Puri was abolished. The royal patronage of court and temple dancers had been
severely eroded by the absorption of India under the crown. The only
viable Odissi tradition was the Gotipua. This had weathered the British
Anti-Nautch movement simply because it was performed by males.
Nevertheless, the Gotipua tradition was in a very bad state.
Independence brought a major change in official attitudes toward
Indian Dance. Like the other classical arts, dance was seen as a way to
define India's national identity. Governmental and non-governmental
patronage increased. The few remaining Odissi dancers were given
employment, and a massive job of reconstructing the Odissi dance began.
This reconstruction involved combing through ancient texts, and more
importantly, the close examination of dance posses represented in
bas-relief in the various temples.
There were a number of people who were responsible for the
reconstruction and popularization of Odissi dance. Most notable among
them are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan
Das, Guru Mahadev Rout, Guru Raghu Dutta, and Guru Kelu Charan
Mahapatra.
Today Odissi dance is once again deemed a viable and "classical" dance.
Style
There are a number of characteristics of the Odissi dance. The style
may be seen as a conglomeration of aesthetic and technical details.
Odissi is characterized by fluidity of the upper torso (the waves of
the ocean on the shores of Puri) and gracefulness in gestures and
wristwork (swaying of the palms), juxtaposed with firm footwork
(heartbeat of Mother Earth). All classical Indian dance forms include
both pure rhythmic dances and acting or story dances. The rhythmic
dances of Odissi are called batu/sthayi (foundation), pallavi
(flowering), and moksha (liberation). The acting dances are called
abhinaya.
One of the most characteristic features of Odissi dance is the
Tribhangi. The concept of Tribhangi divides the body into three parts,
head, bust, and torso. Any posture which deals with these three
elements is called Tribhangi. This concept has created the very
characteristic poses which are more contorted than found in other
classical Indian dances.
The mudras are also important. The term mudra means "stamp" and is a hand position
which signifies things. The use of mudras help tell a story in a manner
similar to the Hula dance form of Hawaii.
Themes
The themes of Odissi are almost exclusively religious in nature.
They most commonly revolve around Krishna. Although the worship of
Krishna is found throughout India, there are local themes which are
emphasised. The Ashtapadi's of Jayadev are a very common theme.
Although incorporating a range of emotions and mythologies, the eternal
union of Radha and Krishna (Gita Govinda) is central to the abhinaya in
Odissi Dance.
Sculptures of Odissi dancers adorn many temple walls in Orissa.
Music
The musical accompaniment of Odissi dance is essentially the same as
the music of Orissa itself. There are various views on how the music of
the Odissi relates to the music of greater North India. It is usually
considered just another flavour of Hindustani Sangeet, however there
are some who feel that Odissi should be considered a separate classical
system.
There are a number of musical instruments used to accompany the
Odissi dance. One of the most important is the pakhawaj, also known as
the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. One
difference is that the right head is a bit smaller than the usual north
Indian pakhawaj. This necessitates a technique which in many ways is
more like that of the tabla, or mridangam. Other instruments which are
commonly used are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.
There was a move to classify Odissi as a separate classical system.
This movement is generally considered to have failed for a number of
reasons. The general view is that traditional Orissi singers and
musicians have been so influenced by Hindustani concepts that they are
unable to present the music in its "original" form.
There is a peculiar irony to this movement. Had they succeeded in
having Odissi music declared to be a separate system, then it would be
hard to justify calling it classical. It would fail to achieve any
level, of ethnic transcendence and would essentially be reduced to the
level of a "traditional" art form.
Revival
The current form of Odissi is the product of a 20th century revival.
Dance Vocabulary
Guru Kelucharan Mohapatra, dancer and teacher, was one of the leaders of this revival and one of the most popular proponents of Odissi.
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