Introduction


A highly stylised dance based on the classical Natya Shastra and the

ODISSI
Abhinaya Darpana.

Sources
 Abhinaya Darpana Prakasha by Jadunatha Sinha.
 Abhinaya Chandrika by Rajmani Patra.
 Abhinaya Chandrika by Maheshwara Mahapatra.
 Gita Govinda by Jayadeva.

Derives its name from the ‘Odra Magadhi’ mentioned in Natya Shastra.

It was primarily practised by the ‘Maharis’ and patronised by the Jain king Kharavela.

The Mahari system became defunct with the advent of Vaishnavism in the region.

Maharis: Originally temple dancers. Later on employed in royal courts which resulted in the degeneration
of the art form.

Gotipuas: Young boys recruited and dressed as females to continue the art form.

Nartala: Another variant of this art which continued to be practised at the royal courts.

Each performance reaffirms the faith of the maharis where they sought liberation or moksha through the
medium of dance.

The dance form symbolises the element of water.

Evidence

The caves of Udayagiri-Khandagiri near Bhubaneswar provide some of the earliest evidence of this dance
dating back to the 2nd century B.C.E.

The Hathigumpha inscriptions by King Kharavela.

Innumerable examples of the Buddhist sculptures, the tantric images of dancing Yoginis, the Nataraja, and
other celestial musicians and dancers of early Shaivite temples showcase a continuing tradition of dance
from the 2nd century B.C.E to the 10th century C.E.

These influences have found synthesis in the philosophy – the dharma or faith of Jagannath.

The Sun Temple at Konarak, built in the 13th century, with its Natya mandap or Hall of dance is an
inspiration to Odissi dancers.

Features

Facial expressions, hand gestures and body movements are used to suggest a certain feeling, an emotion
or one of the nine rasas.

Rasas: Emotions that are expressed through the dance.
 Shringaar for love
 Roudra for anger
 Bibhatsa for disgust
 Veera for heroism
 Shaant for peace and tranquillity
 Haasya for laughter and comedy
 Karuna for tragedy
 Bhayanak for horror
 Adbhuta for wonder

The techniques of movement are built around the two basic postures of
the Chowk and the Tribhanga.

Chowk: A position imitating a square, masculine stance with the weight of


the body equally balanced.
Tribhanga: A feminine stance where the body is deflected at the neck,
torso and knees.
ODISSI

Bhangis: Sculpturesque poses or units of movement ending in one
particular stance.

Hand gestures play an important role both in nritta where they are used
only as decorative embellishments and in nritya where they are used for communication.

During the dance, the lower body remains largely static and there is a movement of the torso.

The dancers create intricate geometrical shapes and patterns with her body known as ‘mobile sculpture’.

The woman dancer wears elaborate hair-style, silver jewellery, and a long necklace.

Sequence of the Dance


Mangalacharan: Beginning where a flower is offered to mother earth.

Batu Nritya: Comprising the dance that has the Tribhanga and the Chowk postures.

Pallavi: Includes the facial expressions and the representation of the song.

Tharijham: Consisting of pure dance before the conclusion.

Conclusion: It is of two types.
 Moksha: Includes joyous movements signifying liberation.
 Trikhanda Majura: The performer takes leave from the gods, the audience and the stage.

Music

Dance is accompanied by Hindustani classical music.

Instruments Used: Manjira (Cymbals), Pakhawaj (Drums), Sitar, Flute.

The lyrics of Gita Govinda, written by Jayadeva, is used along with compositions of some local poets.