Odissi Dance - By Aumkaar Naad Natya Founder
Odissi is often described as "visual poetry" or "sculpture in motion." Originating from the state of Odisha in Eastern India, it is one of the oldest surviving classical dance forms in the world, rooted in the sacred traditions of the Hindu temples.
Here is a synopsis of this elegant art form:
Historical Origins
Odissi traces its lineage back over 2,000 years, with its foundations found in the Natya Shastra (the ancient Sanskrit text on performing arts). Historically, it was performed by:
Maharis: Female temple dancers who dedicated their lives to Lord Jagannatha.
Gotipuas: Young boys dressed as girls who performed for the public, ensuring the dance survived when temple traditions faced decline.
The "Signature" Postures
What sets Odissi apart from other Indian classical dances are its two foundational stances:
Chauka: A stable, square-like position that symbolizes the all-encompassing nature of Lord Jagannath.
Tribhanga: A graceful "three-bend" posture (head, torso, and knees) that mimics the curves of ancient temple sculptures. This pose is considered the hallmark of Odissi’s femininity and fluidity.
The Performance Repertoire
A traditional Odissi recital follows a specific spiritual journey:
Mangalacharan: An invocatory dance seeking blessings from God, the Guru, and the audience.
Batu Nrutya: A pure dance piece highlighting the rhythmic and sculptural poses.
Pallavi: A melodic "blossoming" of movement and music, focusing on intricate footwork.
Abhinaya: The storytelling soul of the dance, usually based on the Gita Govinda, depicting the divine love between Radha and Krishna.
Moksha: The finale, symbolizing the liberation of the soul and its union with the divine.
Aesthetic & Music
Costume: Dancers wear beautiful silk sarees (often Sambalpuri or Bomkai) draped in a specific fan-like style, paired with intricate filigree silver jewelry.
Music: Accompanied by Odissi music (a distinct blend of Hindustani and Carnatic styles), featuring instruments like the Mardala (pakhawaj), flute, and violin.
A Quick Tip: If you're ever watching a performance, look for the "head and torso" movement. Unlike many other dances, Odissi uses a side-to-side torso movement (chest glide) that creates its uniquely fluid, wave-like appearance.
Odissi is not just a dance of movement; it is a dance of literary and sculptural evidence.
I. Ancient Texts & Treatises (The Shastras)
Odissi refers to several primary texts to validate its techniques, hand gestures (mudras), and emotional expressions (Abhinaya)
Natya Shastra (attributed to Bharata Muni): The "Fifth Veda" of Indian performing arts.
It mentions Odra-Magadhi, the regional style of dance practiced in the Odra (Odisha) region, which is the direct ancestor of Odissi. Abhinaya Darpana (by Nandikeswara):
A foundational manual for classical dance that describes head, eye, and neck movements, as well as the 28 single-hand and 24 double-hand mudras used today. Abhinaya Chandrika (by Maheshwara Mahapatra, 17th Century): This is perhaps the most crucial "Odissi-specific" text.
It provides detailed descriptions of the Chauka and Tribhanga stances, the unique costumes, and the specific dance repertoire of Odisha. Sangeet Narayana (by Purushottama Misra): A significant 18th-century work that discusses the music and rhythm (Tala) specific to the Odissi tradition.
The Gita Govinda (by Jayadeva):
While a poetic text, it is the spiritual backbone of Odissi. Almost all expressive dance (Abhinaya) in Odissi is based on these 12th-century verses depicting the love between Radha and Krishna.
II. Recommended Modern Books
If you are looking for scholarly and technical depth, these are the "gold standard" books on the subject:
| Book Title | Author | Significance |
| Odissi: Indian Classical Dance Art | Sunil Kothari | The most comprehensive visual and historical guide. |
| The Making of a Guru | Ileana Citaristi | A biography of Kelucharan Mohapatra that chronicles the dance's revival. |
| Odissi Dance | Dhirendranath Patnaik | Written by a scholar who was part of the original revival committee. |
| Dancing Odissi | Anurima Banerji | A modern academic look at the gender and politics behind the dance. |
| Dance as Yoga | Rekha Tandon | Explores the physical "Sadhana" and structural alignment of the dance. |
The "Old Major Gurus" (The Four Pillars)
In the 1950s, a group called Jayantika was formed to standardize Odissi's grammar. Four legendary gurus emerged as the architects of the modern form:
Guru Pankaj Charan Das (The "Adi Guru"):
Born into a Mahari (temple dancer) family, he is considered the father of Odissi.
Contribution: He brought the soulful, devotional Mahari temple style into the classical fold.
Guru Kelucharan Mohapatra:
The most famous face of Odissi worldwide. He began as a Gotipua (boy dancer) and percussionist.
Contribution: He created the most widely practiced "Gharana" (style), known for its extreme grace, fluidity, and complex Pallavis (pure dance pieces).
Guru Deba Prasad Das:
Known for the "Sabda Swara Pata" style.
Contribution: He emphasized the folk and tribal roots of Odisha, making his style more robust, rhythmic, and less "polished" than the others, staying closer to the Akhada (martial) traditions.
Guru Mayadhar Raut:
He played a key role in integrating the Abhinaya Darpana and Natya Shastra more strictly into the Odissi curriculum.
Contribution: He is credited with giving Odissi its highly structured academic and shastra framework
The costume and jewelry of Odissi are not merely decorative; they are designed to transform the dancer into a "living temple sculpture." The aesthetic is rooted in the heritage of Odisha, particularly the silver-work traditions of Cuttack and the handloom weaving of the region
The Costume: Handloom Elegance
Unlike other Indian dances that use heavy brocades, Odissi primarily uses traditional Odisha Handloom Silk (such as Sambalpuri, Bomkai, or Khandua silk).
The Saree: The saree is usually 5–9 yards long and features traditional motifs like the Shankha (conch), Chakra (wheel), and Phoola (flower).
The Kanchula (Blouse):
A tight-fitting, color-coordinated blouse, often embellished with a border that matches the saree. The Pleated Fan (Nibandhna): This is the most distinct part. A separate piece of pleated cloth is attached to the front.
When the dancer sits in the Chauka (square) position, the fan opens up, creating a beautiful geometric visual that mirrors temple architecture. The Anchala (Pallu): The decorative end of the saree is draped across the chest and tucked firmly at the waist, allowing for free movement of the torso.
2. The Jewelry: Tarakasi (Silver Filigree)
Odissi is the only Indian classical dance that uses pure silver jewelry (white metal), known as Tarakasi. This craft originated in Cuttack and involves twisting thin silver wires into delicate, lace-like patterns.
Ornament Name Placement Description Tahia Head A white, crown-like headpiece. The central spire represents a temple top, and the surrounding flowers represent the petals of a lotus. Alaka Forehead A head-fringe piece that sits along the hairline with a drop-pendant (Tikka) in the center. Kapa Ears Large, round ear-studs, often shaped like a peacock or a flower, with small silver drops. Padaka-Tilaka Neck A heavy, tiered necklace. Usually includes a choker and a longer necklace with a large circular pendant. Bahichudi / Tayila Arms Elaborate armlets worn on the upper arms and silver bangles on the wrists. Bengapatia Waist A heavy silver belt made of interlocking silver links. It helps accentuate the Tribhanga (three-bend) posture. 3. The "Tahia" (Headgear) Significance
The most striking element of an Odissi dancer’s look is the Tahia. It is made of dried stalks of a water plant (shola) or silver. It consists of:
The Gobha: The back flower bun.
The Spire: Represents the Shikhara (tower) of the Jagannath Temple in Puri.
Symbolism: It symbolizes that the dancer is carrying the temple and the deity within them during the performance.
4. Makeup & Final Touches
Alta (Red Dye):
Dancers apply a bright red liquid called Alta on their fingertips and the soles of their feet. This highlights the intricate Mudras (hand gestures) and Padabhedas (footwork). The Bindi: A large red bindi is worn on the forehead, surrounded by white sandalwood (chandan) dots that frame the eyebrows and cheeks.
The Eyes: Deep, heavy black eyeliner (Kajal) is extended outward to make the eyes appear larger and more expressive, as eye movement is crucial for Abhinaya (storytelling).
Fun Fact: While most classical dances use gold jewelry to symbolize royalty, Odissi uses silver to mirror the lunar energy and the cool, fluid grace of the dance style.
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