Notes on Odissi

Away, but at home

2008-07-03T21:01:00.000-07:00

The Chilika Lake in Orissa is home to thousands of migratory birds from November to February every year. Bhubaneswar, the capital city, is the centre of another kind of migration, around the same time. Dancers from the East and the West flock to this temple city to learn Odissi from the masters, finds H. BALAKRISHNAN.

MASAKO ONO started dancing when she was five. Her teacher was Masako Yokoi, the only product of Martha Graham in Japan. She went on to learn western classical ballet, jazz and hip-hop. Today she lives in Bhubaneswar gives dance performances and lectures, cooks Japanese and local food, and practises dance and yoga for up to six hours every day.

One day at elementary school, Masako saw a picture of Taj Mahal and was enraptured by its beauty. She decided to become an architect. "I wanted to build something as beautiful as the Taj," she says! She failed to get into the "best University" for a course in architecture, and gave up that dream. "But the real dream was India," she says. "So, I decided to study about India. I majored in Indo-Pakistan studies."

Back home after a brief visit to India, she saw a video of an Odissi performance by Guru Kelucharan Mahapatra. That chance encounter changed her life. "This is what I want to do in my life," she decided. The Indian Embassy gave her a brochure of Nrityagram.

Masako Ono
Masako took the first opportunity to visit Nrityagram, only to find it "closed". Dejected, she went back to Japan and wrote to Protima Gauri Bedi. There was no reply. Just as she was about to give up and take up a job ("only the health check was due"), she got an invitation from Protima, asking her to "come immediately. You don't have to pay much, just Rs. 3,000 a month including all the classes and boarding. Just pack up and come."

Masako was torn by a dilemma. On one side, she passionately wanted to go to Nrityagram. On the other, "since my father was no more, and I was the eldest, I should take up a job and make mom happy." She told her mother. To her surprise, her mother encouraged her to follow her dream. Masako lost no time in packing. She withdrew all her savings and took the first flight to Bangalore. Thus began her story in India.

The rigorous regimen at Nrityagram honed and burnished the raw talent in the Japanese girl. Today Nrityagram is a sweet memory. But soon, she felt restless. She visited Orissa for further training. Guru Kelucharan and four other veterans taught her the finer nuances. Her dancing reached a passionate intensity, "and my friends thought I was going mad!" This phase passed, and Masako started learning Chhau. Having come to India in 1996, she has been visiting her home country once a year or so, "but it is becoming less and less (frequent)".

Masako Ono has choreographed and danced for Louis Banks involving luminaries like Talat Aziz, Rashid Khan and Pt. Vishwamohan Bhatt. She has performed in India, Japan and Sri Lanka. She is now ready to take wings and spread the message of Odissi and India ("closer to me now") around the world.

WHAT do you say to someone born in Italy but says firmly, "don't bracket me with foreign dancers"? Nothing. Ileana Citaristi, who came to India in 1979, has now made Bhubaneswar her home. She has taken up Indian citizenship and is one of the most visible faces of Odissi and Chhau in the world. Ileana, when she is not working or choreographing, performing or writing for the media, spends time teaching dance to children. One of the most vigorous exponents of Mayurbhanj Chhau, she also choreographs for films.

Ileana Citaristi
Ileana was involved with theatre in her teens. That was in Italy way back in the 1970s. She saw a Kathakali performance and found the "body language" different from what she had been exposed to earlier. She came to India to study Kathakali, found herself drawn to Odissi, and was soon dividing learning both forms each for six months.

She learnt from Guru Kelucharan and soon "Kathakali was no more in the picture". "Lyrical beauty, grace, femininity and melodious music" is how she describes the "defining aspects" of Odissi. Though she teaches many students, the number of "dropouts" saddens Ileana. "This was one of the reasons why Guru Kelucharan Mahapatra decided to teach outside Orissa. Though there are so many dance schools teaching Odissi, the percentage of people continuing has decreased".

What distresses Ileana is the low priority given to dance and heritage in schools and colleges and the vanishing Guru-Sishya Parampara.

WHILE Masako is "Japanese" with a passion for Indian dance and Ileana feels that she is a "16-anna Indian", there are many who come and go. Sachiko Murakami of Osaka comes every year for five months, learns more, performs some and goes back to run a dance school for Odissi. She started learning the Mahari style from the U.S.-based Dr. Ratna Ray. That was in 1996. From 1999, she would go to the U.S. for six months and return to Osaka. Since 2000, Sachiko comes to India, and to learn in the Orissa Dance Academy under Guru Gangadhar Pradhan. She has performed abroad in Japan, the U.S. and Canada. She wants to stay longer in Orissa and improve her technique but cannot, due to teaching commitments back home. Yumiko Masui is another dancer from Japan who first learnt Odissi from Saeko Hamada of Osaka in 1995. Since 1999, she spends six months in Orissa to learn more. Her favourites are pure dance forms like Batu and Mokshya.

Sachiko Murakami
When I went to talk to Kumkum Mahanti, the doyenne of Odissi today at the newly inaugurated Odissi Research Centre (ORC), she pointed a girl playing the pakhwaj, the percussion accompaniment of Odissi. "Listen to how she is playing pakhwaj." I met Isabelle a couple of days later.

Isabelle Dubrana is from the South of France. She first heard about Odissi from a student ORC and found the dance "gracious, earthy and very energetic" — enough to make her decide to learn it herself. Today at 30, she is a determined learner and despite swollen knees caused by the rigour of practice, she does not waste time but spends it usefully, learning to play the accompanying instruments and learning the music. People in Bhubaneswar often see a slim, smiling face pedalling on the roads. That is Barbara Curda, the "smiling cyclist", has been living here since 1993. She learns Odissi from Guru Durga Charan Ranbir. Unlike Ileana, Barbara finds questions about "belonging" rather irksome. As a dual citizen (Franco-Austrian) who had her schooling in Vienna, she has faced this question earlier. She believes in constant progression and does not think that yesterday was worse than today or tomorrow any better, simply because one has learnt to dance differently. Barbara gives the impression of someone in eternal quest- and progression.

Karen Lai is French but lives in Germany. She learnt Odissi from Aruna Mohanty, at the Odissi Dance Academy. Ulrika Petterssen, like Masako, began at Nrityagram. From 1999- 2002, she got an ICCR Scholarship and learnt from Guru R.R. Jena at New Delhi. This year, she found her way to Orissa to fine-tune her knowledge — this time from Aruna Mohanty of the ODA.

Anette Claesson — today an ambassador of Odissi in Sweden (www.odissipooja.com) — started with Kuchipudi in 1994. Her Swedish teacher introduced her to Odissi and Anette decided this form suited her. She learnt initially at Delhi as an ICCR scholar, and later found her Guru in Kelucharan Mahapatra, from whom she learnt the finer points in 2003.

Valentina Leo first learnt Odissi in Italy, almost "by accident". She lives in South Africa but went to Italy to be with her sister. She chanced to see the dance there and took to it like fish to water. She was in Bhubaneswar for two months last year to learn from her guru, Rashmi. About the most memorable moment in Orissa, she says, "To have seen Guru Kelucharan performing live last October, probably one of his last public appearances."

Today, after the death of Guru Kelucharan Mahapatra in April, his students are still under his spell. Each one tries to pay her debt of gratitude in her own way. But not one is pessimistic about the future of Odissi.

E-mail the writer at vibasum@yahoo.com

Source: The Hindu
Published: Jun 27, 2004

Odissi at the Crossroads

2008-07-03T20:44:00.000-07:00

by HARIHARAN BALAKRISHNAN

Fifty-five years after the world woke up to the beauty of Odissi, a furious debate rages between purists and the innovators.

Meanwhile Orissa is witnessing a renaissance of cultural events. from october, a veritable feast of festivals is laid out for the connoisseur and the common man. many towns have sprouted festivals during the October-February season.

Keeping a tradition alive: Sujata and Ratikant Mohapatra.

FIFTY years ago, nobody had heard about Odissi. Today, more people across the world, both from the West and the East, are aware of this classical dance form. Odissi literally means “of Orissa”.

Odissi evolved from two ancient dance forms — Mahari and Gotipua. Maharis were courtesans who danced in temples, mainly that of Lord Jagannath in Puri.

Origins
Gotipua was popular in the villages and was mostly performed by boys. Maharis, or Devadasis, danced before the idol to the accompaniment of mantras. They evolved to dancing to vocal music when Jayadeva composed his famous Geeta Govinda celebrating the life and times of Lord Krishna. This dance form, accompanied by the music in the Geeta Govinda, gave rise to emotive expression or abhinaya, an integral part of present-day Odissi.

It came out of the confines of temples during the time of Chaitanya Mahaprabhu, the seventh century savant. Ray Ramananda, a contemporary dramatist, taught Gotipua to boys and convinced Chaitanya that dance and music in praise of the Lord were also forms of worship that can be practised outside the temples.

Residents of Puri in the 1940s and 1950s knew of Odissi as Dakhini (Southern), since it was popular in Southern Orissa (Ganjam district).

Mahendra Misra, an observer and critic of the dance-music scene in Orissa for 50 years, says “The first person to bring Odissi to the international stage was Indrani Rehman. She went to the U.K., parts of Europe and the U.S. with Guru Debaprasad Das in 1952. From all accounts, the reception was excellent and the world woke up to a new form of dance from India.”

Veteran contributions
Gurus Pankaj Charan Das, Debaprasad Das and Kelucharan Mahapatra are the three veterans revered for their dedication and life-long contribution to Odissi.

Guru Kelucharan was possibly the one man who is identified with Odissi all over the world, since he took this classical dance far and wide. He passed on a couple of years ago, dancing till the last day.

If you ask anyone in Orissa to name one person who made Odissi popular in the world, the reply would be Sanjukta Panigrahi. Sanjukta was a born danseuse.

Her husband, Raghunath Panigrahi, who sacrificed a promising career in film music in Madras to give voice to her dance, reminisces, “Sanju’s sadhana was amazing. She believed that Odissi, or any dance form for that matte r, should be studied in totality and not in bits and pieces. Her energy was superhuman.”

Sanjukta’s impact was felt most in Japan and France. The audience in these countries was discerning and interested in things classical. Sanjukta died six years ago.

Kumkum Mahanty, another doyenne of Odissi in Orissa, started the Odissi Research Centre in 1986. After a long lonely innings, towards the end of her tenure there, she got the institute a building of its own.

Of her beginnings as an Odissi dancer, she says: “One day, my father asked me to press his legs. While doing that, it seems I sang 48 songs without knowing what I was doing. So he admitted me in the Kala Vikas Kendra. That was in 1956. I started learning under Guru Kelucharan Mahapatra. To continue dancing, I had to get a first class, the condition set by my professor-father! After my schooling and the KVK course in dance, I practised at home; Gurudev would sing.

“I was doing my MA when the Sangeet Natak Akademi in Delhi scheduled a Geeta Govinda seminar. Guruji told my father that this was the best occasion for me to display my talent. I remember that this time I said ‘no’ since I had my MA exams. But, for the first time, my father insisted that I go. Night after night, Jayadeva was studied in my house. My father would explain, the house pundit would explain, my mother would write down the notations for music by Sri Bhubaneswar Misra, and I would dance. I went to Delhi in March 1967, and the performance came out so well that one reviewer wrote ‘Kumkum is Padmavati’.”

What does she feel about the ‘today and tomorrow’ of the dance form? “I am quite optimistic. The three great gurus were pioneers who gave their lives for Odissi. Their students are carrying on the tradition. As for innovations, I have nothing against them, so long as the basic techniques and the grammar are respected. The future of Odissi is not dim.”

Daring departure
Kumkum’s own innovation was a daring departure from tradition. She choreographed “Othello” in Odissi and drew flak from purists towards the end of her tenure at the ORC.

Among the gurus of today, Guru Gangadhar Pradhan who runs the Orissa Dance Academy and Guru Durgacharan Ranbir of Nrityayan are considered the foremost exponents.

Pradhan has borrowed liberally from the purist Guru Pankaj and Guru Kelucharan while Ranbir is credited with keeping alive the distinctive tradition of the Guru Debaprasad Das.

Besides Ranbir, his disciple, Sujata Misra, runs a dance school, Mokshya. She has performed to acclaim in India, Bangladesh, Russia and a few other countries. Her objective is to revive some of the neglected, but exciting, prospects like the male-female duet.

Guru Kelucharan Mohapatra was undoubtedly the chief propagator of Odissi across the world. His lasting contribution is Srjan, a dance school that is yet to realise its full potential.

Sujata Mohapatra, his daughter-in-law, and her husband Ratikant now run this gurukul. Sujata received the coveted Mahari Award for 2003-04.

Other dance schools in different parts of Orissa and in places as far-flung as the U.S., Canada, England, Sweden and Malaysia also keep the tradition alive.

Renaissance
Meanwhile Orissa, the cradle of Odissi, is witnessing a renaissance of cultural events. From October, a veritable feast of festivals is laid out for the connoisseur and the common man.

Besides the Konark and Puri Festivals, many towns have sprouted festivals of dance and music during the October-February season.

Despite the spurt of interest in Odissi in its home state and elsewhere, the scene is botched by controversy, accusations and ego clashes. Last year when Malaysian Odissi exponent, Ramli Ibrahim, visited Bhubaneswar, howls of protests and a procession followed since the teenage and pre-teen girls in his troupe did not wear a sash across their torsos.

Scholars like Sitakant Mahapatra pointed out that traditional dancers too never wore the sash but this did not impress the defenders of the ‘faith’.

Controversies
Last December-January, an International Odissi Festival, organised by the U.S.-based Indian Performing Arts Promotion Inc (IPAP), was held with about 400 dancers, musicians and delegates from 17 countries. In spite of the massive turnout and active government support, this too was mired in controversy.

Guru Mayadhar Rout refused the award sought to be bestowed on him saying, “My name was deleted from the list of four original dance gurus and I was ignored ever since I arrived in Bhubaneswar on the invitation of the organisers.”

Maybe organisers from the US have lost their moorings in Orissa or have become too westernised in their conduct towards gurus. Perhaps some gurus have not moved with the times and consider them upstarts claiming a part of their traditional turf.

The purists frown at innovations, while some liberals ask, “Odissi should evolve without sacrificing the essentials and aesthetics. There is no harm in experimentation.”

At a time when the parochial, regional and even national is giving way to the international outlook in the global village, how long will Odissi stand at the crossroads?

E-mail: fabalas02@yahoo.com

Source: The Hindu
Published: May 13, 2007

Stirring Odissi: Gotipua

2008-05-25T21:12:00.000-07:00

Articles on the Gotipua performances for Stirring Odissi, collected from various media in Malaysia.

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Gotipua

The Odissi that we see today is largely inspired by the Gotipua (meaning ‘one boy’) dancers. Gotipua is a living tradition indigenous to the Puri district of the Indian state of Orissa whereby pre-puberty boys are trained in Odissi dance since childhood and they perform dressed in traditional female attire. When the Mahari (temple dancers) tradition has almost died completely, these boy dancers kept the Odissi dance alive.

The present day reconstructed Odissi is largely derived from the Gotipua tradition where a lot of the repertoire and idioms come from. In fact, many Odissi gurus who brought about the revival of Odissi in the mid-fifties are either Gotipua dancers themselves or are closely associated with this tradition. It is an important point of embarkation from which Odissi can later on be inspired by sculpture and music, and in addition to re-looking at treatises of dance and enduring new movements, expand its vocabulary and repertoire.

However, what’s interesting about the Gotipuas is that compared to the more refined and sophisticated form of Odissi, theirs still retain a sense of rawness, which can be refreshing to watch. The Gotipua’s interpretation of the Odissi is not confined to the veneer of sophistication and artifice associated with the contemporary stage.

Suited to their young and supple bodies, the Gotipuas are also known for their bandha nrutyas, which is a series of acrobatic poses, much like yoga, incorporated into their repertoire. This aspect of Odissi is seldom explored in the contemporary form. This is THE performance to watch at the Stirring Odissi festival if you are interested to study the evolution of Odissi as dance. Gotipua dancers are performing as part of the Stirring Odissi festival.

Source: Time Out KL
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The Origin of Odissi
Odissi, the beautiful classical Indian dance from Orissa, has its roots in gotipua, local dance doyen Ramli Ibrahim tells AREF OMAR
Published: 10th May 2008

“YOU must see a gotipua performance before you can claim to be an odissi dancer,” says Ramli Ibrahim.

In the cosy confines of Sutra House in Taman Tasik Titiwangsa, headquarters of Ramli’s Sutra Dance Theatre, the renowned dance guru elaborates on the traditional dance form.

“Odissi has two protagonists, the gotipua and the Mahari temple dancers which are now extinct.

“And it is from the gotipua that most of the materials of the present odissi repertoire were distilled,” says the 54-year-old odissi master, who has studied ballet, modern dance and Indian classical dance.

“Our dance group would always make it a point to catch a gotipua performance at Raghurajpur whenever we visit Puri, one of the four major pilgrimage centres in India, where the Jagannath temple is located.

“In Raghurajpur there are villages in the vicinities of the temples which also produce the Indian folk art patta chitra (miniature paintings on cloth),” he says.

The gotipua tradition found in Orissa features pre-pubescent boys, trained in dance since childhood, who dress in traditional female dance attire.

They undergo rigorous training under the strict supervision of their gurus from physical exercises and yoga to oil massages and vocal training.

The dance form includes striking intricate acrobatic poses and a performance is accompanied by a simple orchestra, consisting of the guru wielding the gini (cymbals), a singer strumming a harmonium and a mardal (drum) player.

“The gotipua is usually performed in the villages during festivals.

“It’s very raw and exuberant. You can’t expect the refinement or sophistication of the contemporary odissi,” says Ramli, who goes on to demonstrate physically the stances and positions with grace and elegance.

“The movements are the same but the style and approach is different. Of course there are also acrobatic movements derived from yoga, as well as tribal and folk movements.

“But all the characteristics of odissi can be found in gotipua,” he says.

The gotipua dancers, recognisable by their top knot hairstyles, dance until they reach puberty then go on to other things like teaching gotipua or becoming musicians with the troupe.

Ramli has invited a group of dancers from Konark Natya Mandap in Orissa to

perform in Kuala Lumpur as part of Stirring Odissi: International Odissi Festival.

“This is a fantastic way for all odissi dancers to come and see a traditional system that is still living and that has inspired the birth of a full-fledged classical system that is now odissi,” he says.

The festival is organised in conjuction with Sutra’s 25th anniversary.

“It is the first extensive exposition of odissi in Malaysia with 120 participants from around the world,” he says.

Besides performances there will also be exhibitions of odissi-inspired paintings and photographs by Malaysian and Indian visual artists and photographers.

The position of odissi, a reconstructed and evolving traditional performing art form, in the global context will be discussed in a two-day seminar, entitled Making Odissi Relevant In The 21st century.

Performances will be held at Amphi-Sutra, the Malaysia Tourist Centre and the Kuala Lumpur Performing Arts Centre, while exhibitions will be showcased at the Petronas Gallery and Sutra Gallery.

“We’ve been doing something cross-cultural for 25 years, believing in it inherently and unconditionally,” says Ramli, who, together with his team, will be heading to the picturesque region of Tuscany, Italy, for performances, as well as to Carnegie Hall in New York this September.

“Our only agenda is the arts and we plan to keep going for as long as we can.”

* Catch Stirring Odissi: International Odissi Festival 2008 from May 21 to June 22. Call Sutra House at 03-40211092/03-40229669, e-mail stirringodissi@gmail.com or visit www.stirringodissi.com for details.

Source: The New Sunday Times (Malaysia)

Malaysia's inaugural Stirring Odissi festival

2008-05-11T23:32:00.000-07:00

For over 25 years, KL-based Sutra Dance Theatre has been preparing the grounds for a major event like Stirring Odissi, which brings together over a hundred of the world’s best Odissi dancers and musicians, as well as visual artists and scholars—all of whom have been inspired by Odissi, a form of Indian classical dance from Orissa, Eastern India. This festival, which celebrates creativity, excellence with a global vision and a passion for this elegant, sensual and lyrical dance form, is the brainchild of its most tireless exponent in Malaysia: Sutra Dance Theatre’s artistic founder and director, Ramli Ibrahim—a direct disciple of the pioneer Guru, Deba Prasad.

For more than two decades, Ramli has consistently exposed Malaysian audiences to Odissi, and has over that period produced internationally recognized Odissi dancers. Stirring Odissi, which will be the most extensive Odissi exposition ever staged in Malaysia, showcases solo and group performances, exhibitions of paintings and photographs and a seminar which will discuss relevant topics in preparing this dynamic dance style for the 21st century. Hailing from around Malaysia as well as from various parts of India, the UK, Japan, USA, Singapore and Switzerland, some of the world-renowned performers participating include Madhavi Mudgal, Minati Mishra and Masako Ono; as well as our very own January Low, Revathi Tamilselvam and Ramli himself. This major event in the performing arts calendar for 2008 in Malaysia and India is also held in conjunction with Sutra Dance Theatre’s 25th anniversary.

STIRRING ODISSI
21 May—14 June, various times
Venues: Amphi Sutra, Malaysia Tourism Centre,
KLPac and Petronas Gallery
Admission: RM103, RM73, RM53, RM38 (performances)
Tel: 03–4021 1092/4022 9669
http://stirringodissi.com

Check out the Stirring Odissi TV promo video here.

Source: Vision KL magazine
Writer: Mavis Hooi

Rasa-abhinaya

2008-05-10T00:02:00.000-07:00

In Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors. Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa.

Natyasatra describes only eight rasas. The ninth rasa, Santham or tranquil, was suggested by Abhinavagupta on the grounds that actors may need this expression occasionally in their performances.

Originally written for the Sanskrit drama of the age of Kalidasa, the theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Kudiyattam, Bharatha Natyam, and Kathakali.

The Navarasas
The nine principal rasas are called the navarasas:

Śriṛngāram (शृन्गाारं), Sringara - Love, Erotic Love
Hāsyam (हास्यं), Hasya - Laughter, Mirth
Karuṇam (करुणं), Karuna - Compassion, Kindness
Raudram (रौद्रं) - Anger
Vīram (वीरं), Veera - Valour
Bhayānakam (भयानकं), Bhaya - Terror, Danger
Bībhatsam (बीभत्सं) - Disgust, Odiousness
Adbhutam (अद्भुतं) - Wonderment
Śāntam (शान्तं), Shanta - Tranquility, Peace

The Bhavas
The Natyasastra identifies the first eight rasas with eight corresponding bhava:

Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)

Sources: Wikipedia plus my own notes and observations from class.

Indian Musical Instruments

2008-05-09T20:45:00.000-07:00

Dhol - Drum

Dholak - Drum

Harmonium - The British introduced harmoniums to India during the colonial period. It is a free-standing musical keyboard instrument (similar to a Reed Organ or Pipe Organ). Sound is produced by air being blown through reeds resulting in a sound similar to that of an accordion. The air is supplied by foot-operated (or, as with the type of harmonium used in Indian music, hand-operated) bellows alternately depressed by the player.

Mridangam - The most used drum in South Indian music

Nagaswaram - A popular South Indian wind instrument used in devotional music

Sitar - Long-necked stringed instrument (North Indian)

Tabla - A popular Indian drum/percussion instrument

Veena - This is a plucked stringed instrument used in Carnatic (South Indian) music. It gets its characteristic sound from the slight curve at the top of the neck. There are several variations of the veena, which in its South Indian form is a member of the lute family. One who plays the veena is referred to as a vainika.

Personal Dance Diary

2007-12-18T05:44:00.000-08:00

December 07: My Tuesday class has been closed due to poor attendance, and the few of us left have joined the Monday class, which is quite a bit more advanced. They're already halfway through an item called Lavitha Lavanga, which is part of the epic, Gita Govinda, by Jayadeva. The choreography is gorgeous and the music beautiful, both full of drama, romance and tragedy. I just wanted to take a note of this link, where one can read more about Radha and Krishna, the star-crossed lovers of the story.

Characteristics, Vocabulary, Repertoire

2007-07-08T09:56:00.000-07:00

Odissi combines pure dance and intricate footwork, sculptural poses and story telling. It is performed in the form of Bhava (statement), Raga (melody), Tala (rhythm), Nritta (dance) and Nritya (expression).

Odissi is highly lyrical and graceful dance in all aspects: costuming, jewelry, music and body movements. It’s a plethora of visual delights: the beautiful poses of Odissi bear close resemblance with the relief sculptures of the Konark Sun Temple where the art once flourished. The striking features of Odissi are its intimate relation with the sculptures, where one feels the illusion of the sculptures coming to life in the dance.

Characteristics

Odissi is characterised by its curvaceous movements, sculpturesque poses full of languid grace and an imposing demeanour at the same time.

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.

The two main postures used in Odissi are the tribhangi (or tribhanga) and chaukha. Tribhangi is a three-body-bend in essence, and is very feminine in nature. 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 posture is based on deflection of weight which gives the body aesthetic sensuousness and a curvy, sinuous appeal. The deflection of the limbs is achieved by shifting of the weight and movement of the torso in the opposite direction of the head and hip.

The other common position is Chaukha or chowka in which the weight is equally distributed and altogether four right angles create a perfect geometrical motif. The chaukha of Odissi is comparable with the araimandalam used in Bharatanatyam, except that chaukha is essentially wider than araimandalam.

Repertoire

The Odissi repertoire has a wide range of dance items evoking different emotions, and telling different tales. Some items are soft and sensuous while others are extremely dynamic; even ferocious.

A typical Odissi repertoire consists of the invocatory item 'Mangalacharan', a tribute to Mother Earth, Lord Jagannath and the other Gods, also with stanzas to welcome the audience and to thank one's Gurus.

There are 'Pallavis', which are pure dance pieces performed to 'bols', which are strings of rhythmic syllables (which don’t mean anything literally, but are used to emphasize movement – I think). A pallavi weaves graceful and intricate patterns of movements, lyrical dance passages that run parallel with rhythmic syllables of music based on a Raga.

'Abhinaya' which means 'action', is a dramatic piece where mudras (hand gestures), facial expressions and body language are used as tools to emote, describe and tell a story. In Odissi, abhinaya pieces are performed to both Sanskrit and Oriya songs, conveying the meaning of the lyrics.

The repertoire ends with 'Moksha' or 'Mokshya', the dance of liberation. It is a pure-dance piece where the dancer tries to merge with the divine in a final flourish of rhythm and movement.

Other common items include Dashavatara, a dance describing the ten incarnations of Lord Vishnu, and Batu Nritta, based on Lord Shiva.

Glossary

2007-07-08T09:06:00.000-07:00

Note: This section is a work in process; more terms will be added as and when I come across them. If you spot any errors or inaccuracies, or can offer additional info on any entry, feel free to email me. Thank you!

ABHINAYA – a dramatic piece where mudras, facial expressions and body language are used as tools to emote or describe. Essentially, it's like dance drama or "acting dances". In Odissi, abhinaya pieces are performed to both Sanskrit and Oriya songs.

ARANGETRAM ('ascending the stage') - An arangetram is the graduation from learning the essentials of the dance form and the beginning of the path towards the dancer's artistic maturity. After about 10-12 years of intense training, the guru or teacher decides when the disciple is ready both physically and emotionally to be presented to the public with a 2 1/2 hour solo performance marking the graduation or Arangetram.

ASHTAPADIS – poem of eight couplets

ATTAMMI / ATAMI - fluid 'head slides' to add emphasis (?) to movements.

BATU / STHAYI ('foundation') -

BOLS - this is derived from the word "bolna" which means "to speak". Strings of rhythmic syllables (which don’t mean anything literally, but are used to emphasize movement – I think). These mnemonic syllables are an important part of Indian rhythm. They are variously referred to as bol (North Indian), solkatu, or konnakkol, and correlate to the various strokes of the tabla, mridangam, and pakhawaj as well as other classical percussive instruments.

CHAUKHA – one of two main postures used in Odissi; chauka

GURU – teacher or dispeller of darkness/ignorance. The word guru, a noun, means "teacher" in Sanskrit. A notable esoteric etymology of the term "guru" is based on a metaphorical interplay between darkness and light, in which the Guru is seen as the dispeller of darkness. In some texts it is described that the syllables “gu” and “ru” stand for darkness and light, respectively.

The syllable gu means shadows
The syllable ru, he who disperses them,
Because of the power to disperse darkness
the guru is thus named.
– Advayataraka Upanishad 14—18, verse 5)

LASYA - femininity

LASYA - The feminine aspect of dance

MANGALACHARAN – the very first item a student of Odissi learns. This is an invocatory item in which one pays tribute to Mother Earth, Lord Jagannath and other Gods, also with stanzas to welcome the audience and to thank one's Gurus. "Mangala" means goodness, and "charan" mean wishing.

MINANANTHI - The "fish" walk (Note to self: is this the Odissi walk?)

MOKSHA ('liberation') – a pure-dance piece where the dancer tries to merge with the divine.

MRINDAGAM - drum

MUDRA - the term mudra means "stamp" and is a hand position which conveys various meanings.

NATYA – drama

NATTUVANAR - conductor of live music for a dance performance.

NATTUVANGAM - a set of small cymbals that a Nattuvanar uses while keeping the rhythm. It also refers to the art of conducting a classical Indian dance recital. Nattuvangam addresses the Laya or sense of rhythm which is a very important aspect of Indian classical dance.

NATYA - dramatisation

NRITTA - pure technical dance with no meaning

NRITYA – expressional dance with meaning; expression through the use of hand gestures and body movements

PADAM - narrative dance

PALLAVI ('flowering') - pure dance pieces performed to 'bols'

RAGA - melody

TALA - rhythm

TANDAVA - The masculine aspect of dance

TRIBHANGI (or tribhanga) – one of two main postures used in Odissi. Very feminine in nature, tribhangi is a thrice deflected posture, in which the body is bent in three places (head, bust and torso/hip), approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing. Any posture which deals with these three elements is called tribhangi.

History/Origins

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Odissi (or Orissi) is the traditional style of dance that originated in the state of Orissa in Eastern India. It is one of the oldest surviving forms of dance, with evidence dating back to 2200 BC to be found in the caves of Khandagiri and Udayagiri in Orissa. The current form of Odissi is the product of a 20th century revival.

The modern Odissi dance is an extension of two ancient traditions: the Mahari and Gotipua dance systems. The women, Maharis, were temple dancers, while the boys, Gotipuas, performed for the general public outside the temple premises during festivals.

Today, there are three distinct styles of Odissi, including the Gotipua style of Guru Deba Prasad Das, the Mahari style of Guru Pankaj Charan Das, and the repertoire of Odissi as formulated under the aegis of Jayantika in 1957, which is the style of dancer and teacher Guru Kelucharan Mohapatra, one of the most popular proponents of Odissi.

Deba Prasad was a dynamic force whose dance captured not only Odissi's sensuous lyrical form, but was also infused with the wild, vigorous spirit of tribal dance and tantric forms. Among Deba Prasad's brightest students is Malaysia-based Ramli Ibrahim, recognised by many as one of the foremost male dancers of Odissi in the world today.

Sources: Wikipedia, Odissi dance blog

About This Blog

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Siryn is a student of Odissi who's trying to learn as much as she can about this beautiful Indian classical dance.

This is a repository of information she has gathered from various sources (on- and offline) for her reference, as well as that of other Odissi enthusiasts.

"Notes on Odissi" is going to be a work in progress indefinitely, because one never stops learning! There's SO much to learn and so much information to digest... let's help each other out!

Feel free to leave your comments; if there are any inaccuracies, please let me know, and if you would like to offer any additions, you're most welcome to. Thank you and enjoy!