Odissi, one of the eight classical dance of India which is an ancient, breathtakingly beautiful form of sacred dance,originally developed in the temple of shri Jagannatha at Puri as a form of worship and meditation.Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The Konark temple have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. As the temples are the bases of cultural life in this state, Odissi form of classical dance has been closely connected with their day-to-day activities. Strongly linked with the religious movements of Orissa, It shows traces of Buddhism, Tantrism (Buddhist and Brahmanical), Saivism, and Vaisnavism, not only in the figures depicted but also in the messages conveyed.In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas.
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.
Origin of O
dissi
Odissi was first encountered outside the temple in the early part of the 16th century. This dance tradition was kept alive by the devadasis.Those who were attached to the Jagannath Temple were all Vaishnavitcs and those at Bhubaneswar were attached to Shaivite temples. Before the introduction of the Gitagovinda in temples, the devadasi used to dance to the recitation of hymns and bols of talas. But after Gitagovinda became part and parcel of the rituals, tile devadasis performed abhinaya with different bhavas and rasas. The dance remained an oral tradition through the beginning of the 20th century, in possession of semi-literates who were not aware of the existing Sanskrit texts on dance. Consequently, the movement patterns, body positions, and hand gestures existed in diluted, even debilitated, form without the technical terminology that structures a dance format.
The Themes of Odissi
Odissi is dependent on Geeta Govinda rather than any other theme. It is generally believed that the composers fixed the tala and raga of each song as in those of Geeta Govinda. Mostly these romantic compositions are set in a slow tempo and the dancer gets full scope to depict the emotion by gestures and softer movements to bring home to the audience the full meaning of the compositions. Odissi dependence on Geeta Govinda has enhanced its popularity and made it acceptable to the masses. The dance while portraying the bhava brings out the myriad nuances of the Shrinagar rasa. The songs used in this item deal with devotion or Bhakti Ras. The themes of Odissi almost commonly revolve around Krishna. The Ashtapadis of Jayadev are a very common theme. Although incorporating a range of emotions and mythologies, the eternal union of Radha and Krishna (Gita Govinda) is central to the abhinaya here.
Odissi utilizes powerful, energetic footwork (tandava), juxtaposed with sinuous, graceful feminine postures and movements (Lasya). Handed down from teacher to disciple for thousands of years, Odissi emphasizes, and in fact, centers on spirituality and devotion.
The essence of Odissi lies in its sculpturesque quality; most of its beautiful poses bear close resemblance with the sculptures of the famous temples, which once nourished the art. This dance form demands tremendous physical fitness but also lays equal emphasis on sensitive facial expression more on the swatika bhava. The movements are so vigorous that it makes the dancer emotional, tired and exhausted. He falls in to a trance or becomes senseless at the end of the performance. So this style of dance maintains a perfect balance between physical, mental and spiritual aspects of dance.
Music in Odissi
The musical accompaniment of Odissi dance is essentially the same as the music of Orissa itself. In Odissi, the words used in Drutala (speedy rhymes) are called padis and Navatala`s (nine rhymes) use is also the special feature of Odissi music. Besides, even Dasatala (ten rhymes) and Egaratala (eleven rhymes) are commonly used in Odissi music. Odissi music is a unique blend of North and South Indian classical music but with its own distinct qualities. Today, the Odissi musical orchestra consists of the Guru who mostly is also the pakhawaj player accompanied with one or two vocalists. There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the mardal. Other instruments, which are commonly used, are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.
Costume and Jewellery in Odissi
Odissi dance attire like other Indian Classical dance has a stitched costume (pyjama style) made out of the special Orissa handloom silk sarees, draped in a practical and comfortable style. The sarees have their special borders and intricate designs that set them apart from other sarees. Earlier, there were no stitched costumes but only the sarees used to be draped around. But over a period of time, the stitched costume has been used more frequently because of its convenience.
The Odissi dance jewellery is in silver. The dancer wears a choker, a longer necklace, armlets, bracelets, a belt, anklets, bells, earrings, each placed on the bun, and a seenthi (apiece placed on the hair and forehead). An Odissi dancer has elaborate hair-do in a knot adorned with the "Tahiya" which represents a temple tower. Garlands of flowers are woven into the hair. Palms and soles are painted with a red liquid called the "Alta". They also wear the head ornament called the "Mathami", representing flowers around the hair, and apiece protruding upward, representing the top of a temple. The headpiece used to be made out of real flowers, but for practical reasons, it has been replaced with the Styrofoam. They also wear the "Kapa" on the ears, "Kankana" on the wrists, armlets called "Bahichudi" or "Tayila" and an elaborate belt. She wears on her ankles bells strung together on a single cord. A "Padaka-tilaka", a necklace with a locket rests on the chest.
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.
Origin of O
dissiOdissi was first encountered outside the temple in the early part of the 16th century. This dance tradition was kept alive by the devadasis.Those who were attached to the Jagannath Temple were all Vaishnavitcs and those at Bhubaneswar were attached to Shaivite temples. Before the introduction of the Gitagovinda in temples, the devadasi used to dance to the recitation of hymns and bols of talas. But after Gitagovinda became part and parcel of the rituals, tile devadasis performed abhinaya with different bhavas and rasas. The dance remained an oral tradition through the beginning of the 20th century, in possession of semi-literates who were not aware of the existing Sanskrit texts on dance. Consequently, the movement patterns, body positions, and hand gestures existed in diluted, even debilitated, form without the technical terminology that structures a dance format.
The Themes of Odissi
Odissi is dependent on Geeta Govinda rather than any other theme. It is generally believed that the composers fixed the tala and raga of each song as in those of Geeta Govinda. Mostly these romantic compositions are set in a slow tempo and the dancer gets full scope to depict the emotion by gestures and softer movements to bring home to the audience the full meaning of the compositions. Odissi dependence on Geeta Govinda has enhanced its popularity and made it acceptable to the masses. The dance while portraying the bhava brings out the myriad nuances of the Shrinagar rasa. The songs used in this item deal with devotion or Bhakti Ras. The themes of Odissi almost commonly revolve around Krishna. The Ashtapadis of Jayadev are a very common theme. Although incorporating a range of emotions and mythologies, the eternal union of Radha and Krishna (Gita Govinda) is central to the abhinaya here.
Odissi utilizes powerful, energetic footwork (tandava), juxtaposed with sinuous, graceful feminine postures and movements (Lasya). Handed down from teacher to disciple for thousands of years, Odissi emphasizes, and in fact, centers on spirituality and devotion.
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 fa
ce to the gurus and in front of the chest to the audience.
Battu Nrutya: A dance piece offered to the Lord of dance - Lord Shiva in his ‘Batuka Bhairava’ form. This piece brings out the essence of Odissi.
Pallavi: A pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork.
Abhinaya: A poem telling a story conveyed to the audience through mudra or hand gestures (the language of Indian classical dance), facial expression and body movement.
Dashavataar: A dance piece describing the ten incarnations of the Lord Vishnu with verses taken from the Gita Govinda.
Moksha: A pure dance item with only the mardal-pakhawaj (percussion) accompaniment - the dance of liberation.
The essence of Odissi lies in its sculpturesque quality; most of its beautiful poses bear close resemblance with the sculptures of the famous temples, which once nourished the art. This dance form demands tremendous physical fitness but also lays equal emphasis on sensitive facial expression more on the swatika bhava. The movements are so vigorous that it makes the dancer emotional, tired and exhausted. He falls in to a trance or becomes senseless at the end of the performance. So this style of dance maintains a perfect balance between physical, mental and spiritual aspects of dance.
Music in Odissi
The musical accompaniment of Odissi dance is essentially the same as the music of Orissa itself. In Odissi, the words used in Drutala (speedy rhymes) are called padis and Navatala`s (nine rhymes) use is also the special feature of Odissi music. Besides, even Dasatala (ten rhymes) and Egaratala (eleven rhymes) are commonly used in Odissi music. Odissi music is a unique blend of North and South Indian classical music but with its own distinct qualities. Today, the Odissi musical orchestra consists of the Guru who mostly is also the pakhawaj player accompanied with one or two vocalists. There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the mardal. Other instruments, which are commonly used, are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.
Costume and Jewellery in Odissi
Odissi dance attire like other Indian Classical dance has a stitched costume (pyjama style) made out of the special Orissa handloom silk sarees, draped in a practical and comfortable style. The sarees have their special borders and intricate designs that set them apart from other sarees. Earlier, there were no stitched costumes but only the sarees used to be draped around. But over a period of time, the stitched costume has been used more frequently because of its convenience.
The Odissi dance jewellery is in silver. The dancer wears a choker, a longer necklace, armlets, bracelets, a belt, anklets, bells, earrings, each placed on the bun, and a seenthi (apiece placed on the hair and forehead). An Odissi dancer has elaborate hair-do in a knot adorned with the "Tahiya" which represents a temple tower. Garlands of flowers are woven into the hair. Palms and soles are painted with a red liquid called the "Alta". They also wear the head ornament called the "Mathami", representing flowers around the hair, and apiece protruding upward, representing the top of a temple. The headpiece used to be made out of real flowers, but for practical reasons, it has been replaced with the Styrofoam. They also wear the "Kapa" on the ears, "Kankana" on the wrists, armlets called "Bahichudi" or "Tayila" and an elaborate belt. She wears on her ankles bells strung together on a single cord. A "Padaka-tilaka", a necklace with a locket rests on the chest.
No comments:
Post a Comment