ODISSI

                                                             ODISSI 

Odissi is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence.This is a lyrical dance style; it has rules of body motions completely different from other dance forms. Its main quality is elegance; its aesthetics is built on close connection of poetry and music. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are SamaBhanga,Abanga and Tribhanga.

The Odissi technique is based on chouka, a position when hands and legs are bent at right angles, with elbows and knees moved apart. It is a male position by its character; the body weight is distributed equally between both legs. You can see the same pose in the image of Jagannath in Puri temple; perhaps it reflects the balanced, overwhelming and universal nature of god Jagannath’s dharma. This is samabhanga or a balanced position. 

The second important position is abhanga when the body weight is shifted on one leg, the other leg is bent in a knee in a standing or semi-sitting position.

The Next position is Tribhanga, literally meaning three parts break, consists of three bends in the body; at the neck, waist and knee, hence the body is oppositely curved at waist and neck which gives it a gentle "S" shape and is considered the most graceful and sensual of the Odissi positions.This is the unbalanced figure which is not only hard to achieve but also requires of a dancer to have great self-restrain and self-control if she wants to execute it in a beautiful and nice way. There is something airy about it and unlike chouka it is very feminine. 

       Origin and History 

The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela.  Emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.

                                          Tradition and Dance

There had been three types of dancers in Odissi tradition : Maharis in temples, Nachuni(Narthaki) at royal court and Gotipuas in akhadas (halls) who performed before public. 

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. 

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

                                                            Odissi Music 

Odissi dance is accompanied by Odissi music, which is derived as Dhruvapada, Chitrapada, Chitrakala .The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

                                               Costume and Jewelry

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha.The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the Odissi dancer’s costume. A dancer’s head is decorated with mathamani,ears with kapas, wrists with bahichudi or tayita, there is a belt of fine work on her waist; small bells strung on one small strap are ringing on her ankles; on her neck there is a padaka-tilaka a necklace with a locket.Besides, Odissi dancers erect themselves a quite complex hair bun decorated with tahiya, a miniature portrayal of temple gopura (tower); garlands of flowers are entwined into hair. Besides a standard make-up that performers of classic dance use, an Odissi dancer applies gorachan on her brows, a line that is drawn along a brow down to a cheek-bone with chandan (sandal paste). And finally, red liquid alta is sprayed on palms and feet.

                                                        

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.