Hindu
Culture – Dance
Kuchipudi
The performance usually begins with some stage rites, after which each of the character comes on to the stage and introduces him/herself with a dharavu (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a light weight wood called Boorugu.It originated in the seventh century.
Style
Kuchipudi dancers are quicksilver and scintillating, rounded and fleet-footed, they perform with grace and fluid movements. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exposition Kuchipudi numbers include 'jatiswaram' and 'tillana' whereas in nrityam it has several lyrical compositions reflecting the desire of a devotee to merge with God.In an era of the degeneration of dance due to exploitation of female dancers, an ascetic, Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps, there are certain types of dances that are unique to Kuchipudi: Specifically there is the Tarangam which is unique in that t plate with two diyas (small oil-burning candles) in his or her hands while balancing a "kundi" (small vessel) containing water.
The dance styles in the state are based on the standard treatises, Abhinaya Darpana and Bharatarnava of Nandikeshwara, which is sub-divided into Nattuva Mala and Natya Mala. Nattuva Mala is of two types — the Puja dance performed on the Balipitha in the temple and the Kalika dance performed in a Kalyana Mandapam. Natya Mala is of three kinds — ritual dance for gods, Kalika dance for intellectuals and Bhagavatam for common place. The Natya Mala is a dance-drama performed by a troupe, consisting only of men, who play feminine roles.
Sahiti Ravali, a Kuchipudi Dancer from Visakhapatnam, Andhra Pradesh
Movements and music
The songs in Kuchipudi are mimed
with alluring expressions, swift looks and fleeting emotions evoking the rasa.
In Tarangam at times she places a pot full of water on her head and dances on
the brass plate. The song accompanying this number is from the well known
Krishna Leela Tarangini, a text which recounts the life and events of Lord
Krishna
In expressional numbers a dancer
sometimes chooses to enact the role of Satyabhama, the proud and self-assured
queen of Lord Krishna, from the dance-drama Bhama Kalapam. She goes through
various stages of love. When in separation from Lord Krishna, she recalls the
happy days of union and pines for him. At last they are reunited when she sends
him a letter.
One more number from the
Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which a
milkmaid invites Krishna for a rendezvous in myriads of ways giving full scope
for the dancer to display the charms of a woman
Kuchipudi is as ancient as Natya
astra (1st century BC)in which mention is made of a dance drama form besides
solo. An invocatory verse also indicates that four forms of dance were
prevalent then, of which ‘Dakshintya’ or South Indian form is apparently the
earliest version of Kuchipudi. There is also historical evidence that the art
flourished during the reign of the Satavahanas (2nd century BC). Over the
centuries as the performances were dedicated to the worship of Vishnu, the form
came to be known as Bhagavata Mela Natakam. It was during Siddhendra Yogi’s
time (14th – 15th century) that it came to be known as Kuchipudi, named after
the village established by Siddhendra Yogi where his follower, the Brahmin
performers settled down.
Two parallel schools of dance
have existed since time immemorial, viz. Nattuva Mela and Natya Mela. The former
evolved into Bharat Natyam and the latter into Kuchipudi. There is difference
in the presentation itself. The main difference lies in the abhinaya. The
graceful, lasya oriented Kuchipudi gives importance to Vakyartha abhinaya go
together. Bharatanatyam on the other hand is Mudra oriented and gives
importance to Padartha abhinaya, each word interpreted through mudras. Certain
movements are characteristic to Kuchipudi. Vachika abhinaya (use of
words/dialogues) is also a special feature of the Kuchipudi style.
Kuchipudi dancers set a Guinness World Record
Over 2,800 Kuchipudi dancers, including 200-plus natyagurus created a Guinness World Records on December 26, 2010 performing Hindolam Thillana at the GMC Balayogi Stadium in Hyderabad.The spectacular show performed by dancers from 15 countries and every state was staged in praise of Kuchipudi choreographer Siddhendhra Yogi. The 11-minutes programme was part of the concluding ceremony of the three-day second International Kuchipudi Dance Convention.
The chief guest, the President of India, Smt. Pratibha Patil, the governor of Andhra Pradesh, E.S.L. Narasimhan, and the chief minister, N. Kiran Kumar Reddy, congratulated the participants. Kuchipudi exponents Vempati Chinasatyam, Vedantam Satyanarayana Sarma, Yamini Krishnamurthy, Raja Reddy Radha Reddy, and Sobha Naidu were felicitated by the president.
Rapturous applause filled the venue as the programme came to an end and a representative from Guinness World Records announced that she was speechless with the magnitude of the programme. Later, disciples of Raja Reddy Radha Reddy performed Devi Smriti invoking the goddess to remove people’s sufferings.
Chief Minister, who had announced an assistance of 25 lakh Rupees on the inaugural day, handed over a cheque for the amount to the Union minister of state for Human Resources Development.
Manipuri dance
Manipuri dance is purely religious and its aim is a spiritual experience. Development of music and dance has through religious festivals and daily activities of the Manipuri people. According to the legend, the indigenous people of the Manipur valley were the dance-expert Gandharvas mentioned in the Hindu epics like Ramayana and Mahabharata. Not only is dance a medium of worship and enjoyment, a door to the divine, but indispensable for all socio-cultural ceremonies. From the religious point of view and from the artistic angle of vision, Manipuri classical form of dance is claimed not only to be one of the most chastest, modest, softest and mildest but the most meaningful dances of the world.
The most obliging aspect of Manipuri culture is that, it has retained the ancient ritual based dances and folk dances along with the later developed classical Manipuri dance style. Among the classical categories, 'Ras Leela' - a highly evolved dance drama, choreographed on 'Vaishnavite Padavalis' composed by mainly eminent Bengali poets and some Manipuri Gurus, is the highest expression of artistic genius, devotion and excellence of the Manipuris.
Manipuri dancers do not wear ankle bells to accentuate the beats tapped out by the feet, in contrast with other Indian dance forms, and the dancers' feet never strike the ground hard. Movements of the body and feet and facial expressions in Manipuri dance are subtle and aim at devotion and grace.
History
The early period
A copper plate inscription credits King Khuoyi Tompok (c. 2nd century CE) with introducing drums and cymbals into Manipuri dance. However, it is unlikely that the style resembled the form known today before the introduction of Krishna bhakti in the 15th century CCE. Maharaja Bhagyachandra (r. 1759–1798 CE) codified the style, composed three of the five types of Ras Lilas, the Maha Ras, the Basanta Ras and the Kunja Ras, performed at the Sri Sri Govindaji temple in Imphal during his reign and also the Achouba Bhangi Pareng dance. He designed an elaborate costume known as Kumil. The Govindasangeet Lila Vilasa, an important text detailing the fundamentals of the dance, is also attributed to him.Maharaja Gambhir Singh (r. 1825–1834 CE) composed two parengs of the tandava type, the Goshtha Bhangi Pareng and the Goshtha Vrindaban Pareng. Maharaja Chandra Kirti Singh (r. 1849–1886 CE), a gifted drummer, composed at least 64 Pung choloms (drum dances) and two parengs of the Lasya type, the Vrindaban Bhangi Pareng and Khrumba Bhangi Pareng. The composition of the Nitya Ras is also attributed to him.
Modern times
This genre of dance became better known outside the region through the efforts of Rabindranath Tagore. In 1919, he was so impressed after seeing a dance composition, the Goshtha Lila in Sylhet (in present day Bangladesh) that he invited Guru Budhimantra Singh to Shantiniketan. In 1926, Guru Naba Kumar joined the faculty to teach the Ras Lila. Other celebrated Gurus, Senarik Singh Rajkumar, Nileshwar Mukherji and Atomba Singh were also invited to teach there and assisted Tagore with the choreography of several of his dance-dramas.Guru Naba Kumar went to Ahmedabad to teach Manipuri dance in 1928. Soon, Guru Bipin Singh popularised it in Mumbai. Amongst his pupils, most well known are the Jhaveri sisters, Nayana, Suverna, Darshana and Ranjana.
The Dance
The traditional Manipuri dance style embodies delicate, lyrical and graceful movements. The aim is to make rounded movements and avoid any jerks, sharp edges or straight lines. It is this which gives Manipuri dance its undulating and soft appearance. The foot movements are viewed as part of a composite movement of the whole body. The dancer puts his or her feet down, even during vigorous steps, with the balls of the feet touching the ground first. The ankle and knee joints are effectively used as shock absorbers. The dancer’s feet are neither put down nor lifted up at the precise rhythmic points of the music but rather slightly earlier or later to express the same rhythmic points most effectively.The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung, a singer, small cymbals, a stringed instrument called the pena and wind instrument such as a flute. The drummers are always male artistes and, after learning to play the pung, students are trained to dance with it while drumming. This dance is known as Pung cholom. The lyrics used in Manipuri are usually from the classical poetry of Jayadeva, Vidyapati, Chandidas, Govindadas or Gyandas and may be in Sanskrit, Maithili, Brij Bhasha or others.
Mohiniyattam
Mohiniyattam was popularized as a popular dance form in the nineteenth century by Swathi Thirunal, the Maharaja of the state of Travancore (Southern Kerala), and Vadivelu, one of the Thanjavur Quartet. Swathi Thirunal promoted the study of Mohiniyattam during his reign, and is credited with the composition of many music arrangements and vocal accompaniments that provide musical background for modern Mohiniyattam dancers. The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school in 1930, played an important role in popularizing Mohiniattam in the 20th century.
The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi (ocean of milk and salt water).
In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The name Mohiniyattam may have been coined after Lord Vishnu; the main theme of the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to perform this in temples. It also has elements of Koothu and Kottiyattom. Mohiniyattam is a drama in dance and verse.
The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniyattam. There are approximately 40 basic movements, known as atavukal.
The three pillars — Sri Swathi Thirunal Rama Varma, Sri Vallathol Narayana Menon (a poet and founder of the institution, Kerala Kalamandalam) and Smt. Kalamandalam Kalyanikutty Amma (considered “the mother of Mohiniyattam”) — contributed to the shaping out of the contemporary Mohiniyattam during the later part of the 20th century. Guru Kallyanikutty Amma cleared the mythical mystery behind the name of this dance form and gave it the most convincing explanation based on truth, social and historical evolution, interpreting Mohiniyattam as the dance of a beautiful lady than that of a mythical enchantress from heaven.
The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges. The dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras (gestural expressions by the hand palm and fingers).
The Jewellery our traditional dancers wear is the typical complete set of Temple Golden Finish Jewellery with a proper wide Golden Lakshmi belt specially designed for Mohiniyattam. The foot steps are made tinkling with a good pair of original Chilanka or either known as Ghungroo or Dancing bells worn by the dancer on her legs. The performer also adorns herself with Fresh white Jasmine flowers which is decked to her hair bun arranged on the left side of the head pinned on to a beautiful Jurapin, which makes Mohiniyattam artists distinct from other dance forms artists of India.
The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture of Sanskrit and Malayalam. The Mohiniyattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy, sensual manner to enchant the mind without enticing the senses.
Composition
1. ^ Mohiniyattam, The first reference
to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan
Namboodiri, of 16th century AD.
Basic
Lessons of Mohiniyattam - Nritta or Pure danceMohiniyattam is a beautiful dance form of the women of Kerala and it is one of the classical dances of India too.Among the various vrithi-s (styles) detailed by Bharata Muni in his Natya Shastra, Mohiniyattam most resembles the kaisiki(graceful)type.Consisting, as it does, of gentle Angahara-s and belonging to the Lasya style which is feminine, tender and graceful: The kaisiki style is most appropriate for the erotic sentiment and its related exepressions. Though, personally, Wikipedia is more fond of Bharatanatyam.
It has often been said that the movements of the limbs and body of the danseuse of Mohiniyattam should be gentle and graceful like the waves in a calm sea or the swaying of the paddy plants in the field, in a breeze.
To know some basic principles that govern the Mohiniyattam dance style will be of great help for all artistes and art lovers to enjoy this art form.
Like many other Indian dance forms the aspects of Mohiniyattam can be divided mainly into two - Nritha (pure dance ) and Nrithya (expository dance). When a child starts learning Mohiniyattam she /he starts first with the Nritha (pure dance).
Nritha Mandalam-s (stances), Pada bheda-s (foot variations), Padachari-s(gaits) and Nritha hasta-s(gestures) are the main parts of the pure dance patterns. Beautiful combinations of all these above mentioned are called Atavu-s. There are about 55 to 60 Atavu-s in the training pattern followed at Natanakaisiki belonging to the two major styles of Kerala, the Kalamandalam style and Guru Kalyanikuttyamma’s style.
Mandalams Basic posture of the feet is considered as one of the most important aspects of many of the dance forms.In Mohiniyattam the basic posture is known as Aramandalam. In Thiruvathirakali (a groupe dance form of Kerala women which is very closely related to Mohiniyattam)this is known as vattakkalil thanu nilkuka (means bend your leg and stand.). Most of the Atavus –the basic dance units –begin from this basic position. Even though Aramandalam is the most important one, based upon the level of the knees there are five such stances in Mohiniyattam.These are the Sama mandalam,Aramandalam, Muzhumandalam,Mukkalmandalam and Kaalmandalam
.Standing
erect without bending the knees is called Samamandalam.
2.The
knees should be bent and spread apart to form the shape of a pot.
This is known as Aramandalam.(Vattakkal). The
feet for Aramandalam
should be set flat on the floor about two and
a half inches apart,
the right foot turned to the right corner and
the left foot, to the left.
The distance between the toes being about
twelve inches.
3.The
third one is called Muzhumandalam.In this the knees should bent
and spread apart,the toes alone would touch
the ground and the danseuse
should sit on her heels,producing a squatting
stance.
4.When
the knees are positioned between Muzhumandalam and Aramandalam
it is
called Mukkalmandalam. (the word ‘mukkal’ means three forth ).
5.When
the knees are positioned in between Aramandalam and Samamandalam it is called
as Kaalmandalam.
(the word ‘Kal’ in Malayalam means one
fourth).
Chari-s (gaits)In Mohiniyattam
there are five different usages of Pada chari-s. They are Hamsa
(swan)Padam, Kukkuda(hen)Padam, Mayoora (peacock)Padam, Mandooka (frog)Padam, and Naga
(snake)bandham.
Atavus (basic dance units)
Atavus are the basic units, which are sub-divisions of the pure dance in
Mohiniyattam.These are created combining hand gestures, body movements,
mandalam-s, footwork, and Chari-s.
When Mohiniyattam is taught, to
ensure that the people develops graceful body control, it is these Atavu-s,
that are practiced in the first few years of training.
Atavus have been grouped into
Taganam, Jaganam, Dhaganam and Sammisram. The grouping has been done according
to the Vaythari-s(syllables) used.
Unlike
in Bharathanatyam, in Mohiniyattam when these Adavus are choreographed with beautiful patterns and rhythm
to create beauty or to support the bhava(mood) the Vaythari-s (syllables )are
always used in a raga.
Nritha choreographies In
Mohiniyattam, items like Cholkettu, Jathiswarom and Thillana give greater prominence for Nritha. Cholkettu consists of
stylised rhythmic syllables in tune with raga and the danseuse with pure dance
patterns dances appropriate to it. Jathiswaram is an assemblage of jathi-s
(syllables)and swara-s (musical notes ) within the frame work of a raga and
tala. Beautiful sculpturesque postures and atavus are combined with intricate
rhythm and designed to high -ight the grace of this dance style. Tillana-s have
a lot of rhythmic Vaythari-s and these have been beautifully choreographed with
Nritha in Mohiniyattam.
However in other items such as Varnam,
Padam, Saptam, Nritha is used in
between differents parts of abhinaya(enactment), as a part of the abhinaya or
sometimes even to support the mood of the abhinaya. These are some details
about the Nritha in Mohiniyattam. (Information courtesy) Nirmala Paniker
Director, Natanakaisiki Mohiniyattam Gurukulam Natanakairali, Irinjalakuda –
680121
Odissi
Odissi, also
known as Orissi (Oriya: ଓଡ଼ିଶୀ oṛiśī), 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. 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 Bhanga, Abanga, Atibhanga
and Tribhanga.
Origin and history
Temple rituals of Jagannath Temple, Puri,
included Odissi.
The
first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela. Flanked by two queens, 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.
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.[6]
Temple history
In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.
Manuscript evidence
Sage Bharata's Natya Shastra, written in 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Oriya architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Oriya dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.
Mughal and British period
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage in respect to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian Classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their well-deserved place in society, were forced to prostitution to survive in the changing climate of political and cultural oppression of the British.Tradition and dancers
Odissi pose at Konark Sun Temple
The
Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.- 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. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
- 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.
Mahari Tradition
The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.
Gotipua tradition
In the Oriya language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as females. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by femalesDance vocabulary and repertoire
Traditional Odissi repertoire consists of:
Mangalacharana
An invocation piece. After paying
homage to Lord Jagannath a shloka (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 (salutation to Mother Earth)
which is offered to Mother Earth as a way of begging forgiveness for stamping
on her and the Trikhandi Pranam or
the three-fold 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
Also known as Sthayee Nrutya or Batuka Bhairava
(Furious Dance) it is performed in the honor of Lord Shiva-
the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva
known. The origin of dance is believed to be from Tantrism that had flourished in Odisha.
Linga Purana and Mahanirvanatantra give an elaborate description
of Batuka Bhairava in three
aspects, and the results of their worship have also been explained elaborately
in the texts. Battu Nrutya is an
item of pure Nrutya
(Dance)and remains the most difficult item of Odissi dance. The dance begins
with a series of sculpturesque poses depicting such actions as the playing of a
Veena
(Lute), Mardala or Pakhawaj (Drum), Karatala
(Cymbals) and Venu
(Flute), that brings out the interrelationships between this dance and the
dance sculptures adorning the temples of Odisha. These poses are stringed
together with steps in different rhythms. There is no song or recitation
accompanying the dance, but throughout the item a refrain of rhythmic syllables
is provided. The accompanying refrain is in the form of one line of Ukuta and
as this is recited in the Tala, different Jathi-patterns
are improvised and are executed with the feet. Some Tala variations are
introduced and each sequence of the dance terminates with a Tehdi known
as Katam. The
last sequence is always in Jhula Pahapata Tala and is performed with a
fast tempo.
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 which is an
enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and
body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be
performed on verses in Sanskrit or Oriya language. The verses are extremely ornate in content and
suggestion. Most common are Abhinayas on Oriya songs or Sanskrit
Ashthapadis or Sanskrit stutis like Dasavatar Stotram
(depicting the ten incarnations of Lord Vishnu) 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 Lord Jagannath – an incarnation of Lord 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,
Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.
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.
Odissi terminology
Sharmila Biswas performing
Odissi in a dance festival in Kerala
Alap
It is the opening section of a
typical Indian classical performance. It is unmetered, improvised (within the raga)
and unaccompanied (except for the drone of the Tanpura), and is started
at a slow tempo.
Anadha
Asanjukta Dhvanis
Sound created by striking the
Mardala or Pakhawaj (Drum) with one hand.
Avartan(a)
One complete cycle of a taal.
Bani
The spoken drum neumonics. During
dance performances Bani are spoken by the percussionist or the guru.
Bhaga
In taal, this would be the groups
the taal is divided into. Also the points on which the tali, or khali would be.
e.g., Adital (Odissi) is divided into 4 groups of 4 beats. It is said that
Adital has 4 Bhago. These are the measures. Odissi music term.
Bhajan
It is any type of Indian
devotional song. It has no fixed form: it may be as simple as a Mantra or Kirtan or as sophisticated as the Dhrupad or Kriti with music based on classical Ragas
and Talas. It is normally lyrical, expressing love for the
Divine.
Chanda
In tal, this would be how the
divisions of the tal are divided. e.g., in Adital (Odissi), the sixteen beats
are divided into 4 groups of 4. So the Chanda for Adital is 4 + 4 + 4 + 4. This
describes what the Bhagas are.
Devadasis
They were the original temple
dancers who were "Servitress of God". They were dedicated to a deity
or a temple. Apart from taking care of the temple and performing various
rituals, these women learned and practiced Odissi dance, for dance and music
were an essential part of temple worship. They enjoyed a high social status.
Poet Jayadev's famous work depicting the relationship of Radha,
Krishna and Gopis in Vrindavan. Themes from this work have a great significance
towards the classical arts of India.
Goti
These are barrel-shaped tension
pegs made of wood which adorn the Mardala or Pakhawaj (Drum). The straps (Pitha) connecting the two apertures of the Mardala run over them. These pegs
can be moved to either increase or decrease the tension of the leather
membranes covering the two apertures of the Mardala and are useful in tuning
it.
Young boys trained in the fine
art of Odissi dance. The Gotipuas were allowed to leave the temple and dance
for the public. The current form of Odissi is heavily influenced by the Gotipua
tradition (and also the temple carvings from Odisha.)
Khanda Ukutta
When bani and ukuttas are formed
together to make phrases. e.g., Kititaka gadigana. Odissi term.
Mana
The ending sequence that is
repeated to designate that the ending of the piece or of a section. Typically
in 3 repeats. Odissi term. People in Odisha inter change Tihai and Mano. But
they mean the same.
Maharis or Devadasis
The original temple dancers of
Odisha, but now extinct. This is the root of Odissi dance that was later taught
to young boys, Gotipuas. The style is now modernized and work is being done to
preserve it.
Odissi music
Main article: Odissi music
Odissi
dance is accompanied by Odissi music, a synthesis
of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. 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.Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four (34) letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
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
See also: Tarakashi, Sambalpuri Saree and Bomkai SareeThe 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 female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
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.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
Odissi gurus and performers
Padma Vibushan Kelucharan Mohapatra, Guru Pankaj Charan Das, Guru Deba Prasad Das and Guru Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi was a leading disciple of Kelucharan Mohapatra who popularised Odissi by performing in India and abroad. In the mid-sixties, two other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were known for their performances in India and abroad. Shrimati Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival. Padma Shri Mayadhar Raut also played a major role in giving Odissi dance its classical status. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance items, and portrayed Shringara Rasa in Gita Govinda Ashthapadis. His notable compositions include Pashyati Dishi Dishi and Priya Charu Shile, composed in 1961.Most of the present-day gurus were Gotipua dancers and trainers. In the early fifties, the outside world began to take note of Odissi. Priyambada Mohanty Hejmadi and Susama Tej represented Odisha in the classical dance category at the Inter University Youth Festival, New Delhi, in 1954 and 1955. It was here that Charles Fabri witnessed their performances, hailed Odissi as a great classical dance form, and helped Indrani Rehman and Sonal Mansingh train. Hejmadi moved to the United States for several years, rarely performing, and returned to India in the mid-seventies. By then, Odissi had evolved and performers had become better known, including Sonal Mansingh, Sanjukta Panigrahi, and Kumkum Mohanty.
Eminent contemporary gurus and performers in alphabetic order include Aloka Kanungo, Alpana Nayak, Anandi Ramachandran, Aruna Mohanty, Bichitrananda Swain, Bijayini Satpathy, Chitralekha Patnaik, Daksha Mashruwala, Dibakar Khuntia, Dipanwita Roy, Dr. Bidisha Mohanty, Durga Charan Ranbir, Gangadhar Pradhan, Gita Mahalik, Harekrishna Behra, Ileana Citaristi, Jhelum Paranjape, Jyoti Rout, Kasturi Pattanaik, Kiran Segal, Kumkum Lal, Madhavi Mudgal, Madhumita Raut, Manoranjan Pradhan, Meera Das, Muralidhar Majhi, Nandita Behera, Natabar Maharana, Oopali Operajita, Poushali Mukherjee, Ramani Ranjan Jena, Ramli Ibrahim, Ranjana Gauhar, Ratikant Mohapatra, Ratna Roy, Sharmila Biswas, Sharmila Mukherjee, Sharon Lowen, Snehaprava Samantaray, Sonal Mansingh, Sri Mahdeva Raut, Srinath Raut, Sujata Mohapatra, Surupa Sen, Sutapa Talukdar, Trinath Maharana and several others around the world.
Some of the upcoming Odissi performers in alphabetic order are Aadya Kaktikar, Anindita Nanda, Arushi Mudgal, Ayona Bhaduri, Bani Ray, Bijay Sahoo, Devraj Patnaik, Ellora Patnaik, Kaustavi Sarkar, Kavita Dwivedi, Lingaraj Pradhan, Madhusmita Mohanty, Masako Ono, Niharika Mohanty, Pabitra Kumar Pradhan, Priyadarshini Roy, Puspita Mishra, Rahul Acharya, Rajashree Chintak Behera, Rajashri Praharaj, Rajika Puri, Ramesh Chandra Jena, Rekha Tandon, Sandhyadipa Kar, Saswat Joshi, Saswati Garai-Ghosh, Shibani Patnaik, Shipra Avantica Mehrotra, Shreelina Ghosh, Sonali Mishra, Sreyashi Dey, Srinwanti Chakrabarti, Swapnokalpa Dasgupta, Vishnu Tattva Das, Yudhistir Nayak, and several others around the world.
Om
Tat Sat
(Continued...)
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