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Odissi is one of the eight classical dance forms of India. It originates
from the state of Orissa, 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.
First century BCE bas-reliefs in the hills of Udaygiri (near
Bhubaneshwar) testify to its antiquity.
Traditional Odissi repertoire consists of:
Mangalacharan-
An invocational piece. After paying homage to Lord Jagganath a sloka
(hymn) in praise of some God or Goddess is sung, the meaning of which is
brought out through dance. Mangalacharan also includes the 'bhumi
pranam', begging forgiveness of mother earth for stamping on her, and
the 'trikhandi pranam' or threefold salutation - above the head to the
Gods, in front of the face to the gurus and in front of the chest to the
audience.
Battu Nrutya- A dance piece offered to the Lord of
dance - God Shiva in his 'Batuka Bhairava' form. This piece brings out
the essence of Odissi. The interrelationship between temple sculptural
art and Odissi dance is established with an array of sculpturesque poses
taken directly from the innumerable dancing sculptures adorning the
temples of Orissa. These poses are stringed together with steps in
different rhythms.
Pallavi- A pure dance item in which a raga is
elaborated through eye movements, body postures & intricate
footwork. Pallavi literally means "blossoming". This is applicable not
only to the dance, but also to the music, which accompanies it. Pallavi
starts with slow, graceful & lyrical movements of the eyes, neck,
torso & feet & slowly builds in a crescendo to climax in a fast
tempo at the end. Both the dance and the music evolve in complexity as
the dancer traces multiple patterns in space, interpreting the music
dexterously in the multilayered dimensions of taal (rhythm) and laya
(speed).
Abhinaya- An expressional dance where a story conveyed
to the audience through mudra or hand gestures (the language of Indian
classical dance), facial expression and body movement. Abhinaya can be
performed on verses in Sanskrit or Oriya. Most common are Abhinayas on
Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar
Stotram (depicting the ten incarnations of Lord Vishu) or Ardhanari
Stotram. Most of the abhinaya compositions are based on the
Radha-Krishna theme. The Astapadis of the kãvya 'Gita Govinda' written
by the Saint Jayadev are an integral part of its repertoire . The
beginning pieces are dedicated to God of Orissa, Lord Jagannatha - an
incarnation of God Vishnu.
Dance drama- Usually longer than
Abhinaya and typically performed by more than one dancers. Some of the
much appreciated dance dramas composed by Guru Kelucharan Mahapatra are:
Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu
Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani,
Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu
mythologies are chosen as themes, but experimenting with the theme and
form in recent years have led to extremely unique creations. Some
worth-mentioning themes in recent years are Panchakanya, Ganga yamuna,
Shrita kamalam, Mrutyuh and Tantra.
Moksha- The concluding item
of a recital. Moksha means "spiritual liberation". This dance represents
a spiritual culmination for the dancer who soars into the realm of pure
aesthetic delight. Movement and pose merge to create ever new patterns,
ever new designs in space and time. The dance moves onto a crescendo
that is thrilling to both, the eye and the ear. With the cosmic sound of
the "Om", the dance dissolves into nothingness — just like Moksha or
the deliverance of the soul in real life.
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