Odissi

Odissi is one of the eight recognised classical dance forms of India, originating from the eastern state of Odisha. It is distinguished by its lyrical grace, sculptural poses, and deeply devotional character. Evolving from ancient temple rituals and regional folk traditions, Odissi represents the perfect synthesis of spiritual expression, aesthetic beauty, and rhythmic precision. It is often described as the most sensuous and fluid of Indian classical dances, echoing the rhythms and postures immortalised in the temple sculptures of Odisha, particularly those of Konark, Puri, and Bhubaneswar.

Historical Background

Odissi has ancient roots tracing back to Natya Shastra, the foundational Sanskrit treatise on performing arts by Bharata Muni (circa 2nd century BCE–2nd century CE). Archaeological, literary, and sculptural evidence indicates that dance in Odisha flourished as an integral part of temple worship and social life for over two millennia.

• Ancient Period: References to dance and music in Odisha appear in early texts such as the Natyashastra and the Abhinaya Darpana. Dance scenes found in rock-cut caves at Udayagiri and Khandagiri (1st century BCE), commissioned by King Kharavela, provide the earliest visual evidence of Odissi-like postures.
• Medieval Period: From the 7th to 13th centuries CE, Odisha witnessed a golden age of temple construction. The Jagannath Temple at Puri, Lingaraja Temple at Bhubaneswar, and Sun Temple at Konark depict hundreds of dance sculptures capturing characteristic Odissi poses such as tribhanga and chauka.
• Devadasi Tradition: Odissi evolved primarily as a temple dance performed by Maharis, women dedicated to the service of Lord Jagannath. Their dances, known as Mahari Nritya, were devotional offerings (seva) accompanied by classical Odia music and Sanskrit hymns. A parallel tradition of male dancers known as Gotipuas also emerged, where young boys dressed as women performed devotional pieces in honour of Lord Krishna.

Decline and Revival

During the colonial period, Odissi, like other temple arts, faced decline. The British suppression of the devadasi system, along with social reform movements, led to the erosion of temple dance traditions.
In the mid-20th century, following Indian independence, dedicated artists and scholars such as Guru Kelucharan Mohapatra, Guru Pankaj Charan Das, Guru Deba Prasad Das, and Guru Mayadhar Raut spearheaded the revival of Odissi. They reconstructed the dance from temple sculptures, ancient manuscripts (like Abhinaya Chandrika by Maheshwara Mahapatra), and surviving Gotipua traditions.
Through their efforts, Odissi was codified as a classical dance form and gained national and international recognition.

Stylistic Features

Odissi is characterised by its graceful movements, curvilinear postures, and sculptural aesthetics. It combines lyrical beauty with rhythmic discipline, embodying both tandava (vigorous masculine energy) and lasya (graceful feminine energy).
Key Features:

• Tribhanga: The iconic posture of Odissi, where the body is bent at three points—neck, torso, and knee—symbolising fluidity and sensual grace.
• Chauka: A square, temple-like stance representing Lord Jagannath; it conveys stability, strength, and control.
• Mukhaja Abhinaya (Facial Expression): Subtle facial expressions convey emotions and stories, especially in narrative segments.
• Hasta Mudras (Hand Gestures): Codified gestures based on Abhinaya Darpana are used to symbolise objects, emotions, and deities.
• Rhythmic Patterns (Talas): Complex rhythmic cycles accompanied by footwork, coordinated with cymbals (manjira) and mardala (drum).
• Music: Odissi dance is performed to Odissi classical music, a distinct system derived from the ancient Odramagadhi style, using ragas such as Kalyana, Kedar Kamodi, and Mohana.

Elements of Performance

A traditional Odissi recital follows a structured format that progresses from pure dance to expressive storytelling:

1. Mangalacharan: The invocatory dance, performed at the beginning of the recital, where the dancer offers salutations to Lord Jagannath, the Earth, and the audience.
2. Batu Nritya (or Batuka Bhairava): A pure dance sequence dedicated to Lord Shiva, performed without lyrics. It showcases intricate footwork and rhythmic patterns.
3. Pallavi: The pure dance (nritta) segment, meaning “blossoming.” It begins with slow, graceful movements that gradually build to complex rhythmic and melodic improvisations, symbolising aesthetic beauty and expansion.
4. Abhinaya: The expressive portion of the performance, where the dancer enacts poetic verses or devotional songs, typically drawn from the Gita Govinda by Jayadeva, illustrating the divine love of Radha and Krishna.
5. Moksha: The concluding item, symbolising spiritual liberation. The dancer expresses the soul’s release from worldly bonds through free-flowing, joyful movements.

This structure mirrors the spiritual journey from invocation to ultimate transcendence, blending technique with inner emotion (bhava).

Costume and Ornamentation

Odissi costumes are known for their elegance, colour, and intricate design, reflecting Odisha’s textile heritage.

• Costume: Traditionally made of Pattasari or Sambalpuri silk saree, draped to facilitate movement while maintaining modesty. The colours are vibrant, with contrasting borders and pleated front fans that accentuate footwork.
• Jewellery: Silver ornaments are predominant, crafted in traditional Odisha filigree style. Dancers wear bangles, necklaces, anklets, and a distinctive belt (kamarbandh).
• Headpiece (Mukut): Made of white flowers or silver, often designed in the shape of a temple spire (makuta), symbolising sanctity.
• Makeup: Highlighted eyes, red palms, and feet painted with alta enhance expressions and gestures during performance.

Musical Accompaniment and Instruments

Odissi performances are supported by a live orchestra that blends melody, rhythm, and emotion. Key instruments include:

• Mardala: A two-faced drum providing rhythmic foundation.
• Violin and Flute: For melodic accompaniment.
• Sitar: Adds tonal richness and resonance.
• Manjira: Cymbals used to maintain rhythm.The lyrics are often drawn from Sanskrit and Odia poetry, particularly devotional works by Jayadeva, Upendra Bhanja, and Banamali Das.

Themes and Spiritual Significance

Odissi is deeply devotional and philosophical in nature. Most compositions revolve around themes from Vaishnavism, celebrating the divine love between Radha and Krishna. However, Shaivite and Shakta themes also appear in pieces dedicated to deities such as Shiva, Durga, or Ganesha.
The dance represents a journey of bhakti (devotion), where every gesture, movement, and expression becomes an act of offering. The aesthetic experience (rasa) thus becomes both emotional and spiritual, leading the dancer and viewer toward transcendence.

Major Gurus and Exponents

The revival and global recognition of Odissi are owed to the pioneering efforts of eminent gurus and performers:

• Guru Kelucharan Mohapatra – Credited with systematising Odissi and creating its modern repertoire.
• Guru Pankaj Charan Das – Known as the “Guru of Gurus,” he formalised the Mahari tradition for the stage.
• Guru Deba Prasad Das – Integrated folk and tribal elements into Odissi.
• Guru Mayadhar Raut – Introduced the Navarasas and Sanchari Bhava into Odissi abhinaya.Notable modern exponents include Sanjukta Panigrahi, Sonal Mansingh, Ileana Citaristi, Aruna Mohanty, and Sujata Mohapatra, among others.

Odissi in Contemporary Times

In recent decades, Odissi has gained immense popularity worldwide, being performed and taught across India, Europe, America, and Japan. It remains a vibrant cultural symbol of Odisha and a key component of India’s intangible heritage.
International festivals like the Konark Dance Festival and the Mukteshwar Dance Festival showcase Odissi’s living legacy against the backdrop of Odisha’s ancient temples.
In 1958, Odissi was officially recognised as a classical dance form of India, reaffirming its stature as one of the oldest and most refined traditions of Indian performing arts.