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Odissi Dance Mathematics in Motion PDF
Odissi Dance Mathematics in Motion PDF
Mathematics in Motion
Odissi Dance: Mathematics in Motion
Rohini Dandavate, Ph.D.
Geometry in form
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The following illustration of carvings from panels in the Konark temple in Orissa
show dance poses which form the basic positions of Odissi dance. Figure two
shows dancers in positions correlating with the carvings. These positions are
then set with rhythmic transitions and flowing movements which create an array
of symmetrical and asymmetrical shapes.
Figure 1. Figure 2.
The two basic positions used in Odissi dance-- the chowk and the tribhangi—
reflect basic geometric shapes. The position of Chowk, meaning "the square"
emulates the image of Lord Jagannath, the deity for whom this dance was
performed. Figures 3 shows a comparison of Lord Jagannath and the position of
chowk.
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Figure 3- Comparison of Lord Jagannath and Chowk
The following diagrams of the position Chowk, drawn by Late Guru Debaprasad
Das clearly establish the geometrical lines present in this dance position.
The second basic position in Odissi dance is named Tribhangi, literally meaning
“three bends” in Sanskrit. The position consists of three bends in the body at the
neck, waist and knee, giving it a gentle "S" shape. The Hindu deity Krishna is
often portrayed in the tribhangi position, as depicted in Figure 5. Next, Figure 6
illustrates the geometrical lines that define the tribhangi position.
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Figure 5
In the context of group choreography, the precisely defined bends of the spine
and body are used to create geometric three-dimensional tableaus. The following
photographs of group formations show Odissi postures employing the different
bends in their body.
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Figure 7- Dancers: Srjan Dancers: Orissa Dance Academy
Source: http://www.indovacations.net/english/AboutOrissa.htm
The various bends (bhangas) seen in Figure 8 are characteristic of the Odissi
style and are also seen in Indian sculptures.
Figure 8
Source: http://www.dollsofindia.com/read/indian-classical-dance.htm
In each of the poses depicted above, the division and bends of the body create
angles juxtaposed with curves and position the body perpendicularly to the
ground.
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The same ideas are applied in the dance choreography with preset orderly
movements, proportionate postures along with the facial expressions, gestures
and appropriate costumes. The following section will expound on the presence of
geometrical shapes in the movement.
Figure 9
3 6 2
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Audience
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Map 1
Map 4
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1
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In Odissi dance, jumps, stylized walks, turns and spins are performed in all
directions following or tracing imaginary paths of squares, rectangles or circles by
placing the body at different levels. At times a single part of the body coordinates
to create angular, square, linear, or circular patterns on or above the ground
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depending on the sequence of steps chosen. Some examples of paths are
illustrated below:
Figure 11 Circular paths for hand movement, Source: Odissi Path Finder
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Figure 12- Body bending to make an arch, Source: Odissi Path Finder
Figure 13-
Row 1: The feet position starts and ends in tribhanga position.
Row 2:
The forward movement commences and ends in sama pada
(both feet
placed together.
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Figure 14-
These maps amply project the extent to which directions and geometrical
dimensions are defined and maintained in using space for the execution of the
footwork along with the whole body.
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either using fractions of notes when the tempo is fast or each step is danced to
just a full single note when the tempo is slow. Movements are set in three layas:
slow (vilambit), medium (madhya), and fast (druta). Although the tempo changes,
the fundamental taal cycle may be repeated.
In Odissi dance, the first lesson in understanding the divisions in notes of taals or
rhythmic cycles begins with the training of the basic steps in Chowk or Tribhangi.
Simple mathematical division of time within the recitation of the notes is used
while practicing the movement phrases. The other dance numbers in the
repertoire follow different permutations and combinations of beats. Measures of
beats are divided in 5 jatis or categories. There is a combination of beats under
each category creating 7 rhythmic patterns or taals. Choreographers use
combinations of taal cycles and the footwork and movement sequence is set in
correspondence to the rhythmic cycles. The following table illustrates the 35 taal
system.
Categories of Taal Tisra Jati Caturasra Jati Khanda Jati Misra Jati Sankirna Jati
3 beats 4 beats 5 beats 7 beats 9 beats
Dhruba taal (3+2+3+3) (4+2+4+4) (5+2+5+5) (7+2+7+7) (9+2+9+9)
Matha Taal (3+2+3) (4+2+4) (5+2+5) (7+2+7) (9+2+9)
The counting patterns and sequence of beats shown in the table set the rhythm
for the dance movements. A dance number is choreographed based on the
rhythmic cycle played in the required tempo to express the plot or story.
Choreographing pure dance numbers requires mathematical acumen and
training. This table of counting system and rhythmic patterns is not exhaustive;
there are many more variations that are applied methodically in Odissi dance
choreography.
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It becomes clear that Odissi dance involves experiencing mathematics through
the body. French sculptor Rodin says, "I have come to realize that geometry is at
the bottom of sentiment or rather that each expression of sentiment is made by a
movement governed by geometry. Geometry is everywhere present in nature".
Odissi dance truly represents this thought. The Odissi dance repertoire creatively
explores geometry and mathematics in form, structure, and space to express
meaning.
References
Rohini Doshi Dandavate holds a doctoral degree in Cultural Policy and Arts
Administration from the Ohio State University. As an artist in the Arts in
Education Program of the Ohio Arts Council, she has conducted workshops and
lecture demonstrations in schools and colleges in Ohio on Odissi dance since
1994. She has offered courses in Odissi dance as a Visiting Faculty at Denison
University in 2001, and continues to offer dance lessons. She received a
graduate degree in Odissi dance from Kala Vikash Kendra, College of Indian
Dance and Music, Cuttack, India. Her gurus are Guru Kelucharan Mohapatra,
Guru Raghunath Dutta, Guru Ramani Ranjan Jena, and Dr. Menaka Thakkar.
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