Indian Classical Dance Odissi

Details of One of the important classical Dances of India -ODISSI

1. ODISSI PRESENTED BY- AFSANA LASKAR JANIS AKHTAR BARBHUIYA NAZNIN SUDANI HASAN SIDDHARTHA DAS 1 st semester, MBA

2. introduction Odissi is traditionally a dance-drama genre of performance art also referred to as Orissi . It is one of the 8 th Classical Dance forms of India. Odissi is originated in the Hindu Temple of Odisha -an Eastern Coastal part of India.

3. According to history, through this Dance, women used to express religious stories and spiritual ideas particularly of Viashnavism (Vishnu as Jagarnath ). Odissi performance have also expressed ideas of traditions such as those related to Hindu Gods, Shiva and Surya as well as Hindu Goddess ( Shaktism ).

4. Traditional Odissi exists into 2 major styles- between which one style is performed by women where they focus on solemn, spiritual dance ( Mahris ) and the second style are performed by boys where they dressed as girls ( Gotipuas ) which diversified to include Athletics and Acrobatic moves.

5. Artists generally perform this dance to reveal mythological stories, Spiritual messages or devotional poems from the Hindu texts, using symbolic customs, body movements, Abhinaya (Expression) and Mudhars (Gestures and sign language).

6. The History and evolution of Odissi dance

7. The antiquity of ODISSI dance form is evident from its roots that trace back to the ancient Sanskrit Hindu text called ‘ Natya Shastra ’.

8. Odissi is one of the most famous Indian Classical dance form from Odisa state. The history of odissi dance is almost 2000 years old. Like most of the South Indian Classical dances of India Odissi also had its origin in the Devdasi Tradition .

9. Instruments Used in Odissi are :

10. History During the Mughal Era: The attacks inflicted by Muslim armies in the temples and monasteries of Odisha caused destruction of several temples including the Jagannath Temple in Puri which included damage and destruction of the dance halls and the dancing statues. Expansion in 17th Century According to Alexandra Carter, Odissi presumably developed further in the 17th century under the patronage of King Ramachandradeva . Athletics and Akhanda (martial arts) were included and boys or youths were trained in this dance form.

11. DECLINE DURING BRITISH RULE T he Christian missionaries launched anti-dance movement in 1892 to stop such practice. The Madras Presidency under the British colonial government even banned the custom of dancing in Hindu temples in 1910.

12. REVIVAL OF ODISSI The Indian community disapproved such ban and as the Indian freedom movement progressed steadily during the early 20th century, an effort to revive Indian culture and tradition became strong among Indians. Oriya poet, researcher and dramatist Kavichandra Kalicharan Pattanayak was one such revivalist who not only made effort to revive the dance form but is also accredited for naming it as ‘ Odissi ’.    

13. DIFFERENT STYLES OF ODISSI: Facial expressions, hand gestures and body movements are used to suggest a certain feeling, an emotion or one of the nine rasas . The techniques of movement are built around the two basic postures of the  Chowk and the  Tribhanga .

14. The  chowk  is a position imitating a square - a very masculine stance with the weight of the body equally balanced.

15. The  tribhanga  is a very feminine stance where the body is deflected at the neck, torso and the knees.

16. Hasta mudra for bee hovering over a flower

17. Hasta mudra for playing flute

18. Different Mudras

19. Angika Abhinaya The movement of angas like head, hands, waist, and face.

20. Tribhanga : It is a “ Three Bends ” standing body position.

21. Nritya (expressive): It means the dance that relates to sentiments(rasa) and psychology state( bhaava ).

22. Guru Pankaj Charan Das (1925-2003)

23. Guru Kelucharan Mohapatra (1926 –2004)

24. Sanjukta Panigrahi (1944-1997)

25. Late Deba Prasad Das (1932-1986)

26. COSTUMES The female dancers wear brightly coloured sari usually made of local silk adorned with traditional and local designs such as the Bomkai Saree and the Sambalpuri Saree . The front part of the saree is worn with pleats or a separate pleated cloth stitched in front to ensure flexibility of movements of the dancer while showcasing excellent footwork. Silver Jewellery adorns her head, ear, neck, arms and wrists.

27. COSTUMES Her feet and palms are brightened with red coloured dyes called alta . She wears a tikka on forehead and outlines her eyes prominently with Kajal so as to make her eye movements more visible. Her hair is tied in a bun and beautified with Seenthi . A moon shaped crest of white flowers or a Mukoo t that is a reed crown with peacock feathers symbolising Lord Krishna may adorn the hairdo. 

28. Modern Odissi male performers wear dhoti – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested , and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt. COSTUMES

29. JEWELLERIES Jewellery as an integral part of dance, from ancient times. Not just for beautification of the artist, but it has a predominant part in the dance vocabulary. Some dance jewellery has a functional purpose, generally to fix clothing or hair in place. Odissi dancers wear jewellery made from intricate filigree silver jewellery pieces, so on and so forth. Challenges for the artist to dance with this elaborate system on their body. It hurts, falls of, needs to be pinned properly etc Some jewellery pieces act as a carrier or symbol of meaning – such as love, mourning, represent a character or even luck. Like the peacock feather or Mukut which is an essential Odissi dance jewellery is to used to denote love for Krishna etc

30. CONCLUSION The traditional Odissi repertoire, like all classical Indian dances, includes Nritta (pure dance, solo), Nritya (dance with emotions, solo) and Natya (dramatic dance, group) In Odissi dance, important parts are called Padabhada , Bhumi , Chari, Biramani , Bhangi and Hasta ( Mudras ) etc. The most typical pose of Odissi is the ‘ Tribhanga ’ where the body is bent thrice. A fundamental posture of Odissi dance is ‘ Chawka ’. (Drama). To understand Odissi better one needs to understand that Odissi was not a centralized and singular living entity that only existed in the main ancient cities of Orissa. Odissi as a dance form has earned world popularity.