Odissi dance, like the other classical dance genres in India,
gives great importance to the costume, ornamentation and make-up used in the
performance. The classical texts refer movement to angika, voal and sung
textual expression of vachika, pure communicative expression or sattvika, and
the expression through costume, make-up and ornaments, aharya. Every classical
and folk dance form of India reflects the regional character of its performing
arts in the local traditions of textile and ornamentation used for the dance.
Its silver filigree ornaments and pith flowers are the trademark accompaniments
to the dance of Orissa.
Maharis who
danced in the temple, typically wore black velvet bodices with the sari wrapped
from the waist gown. When odissi began to be presented upon the stage, the sari
was first wrapped as a dhoti to a form a divided pyjama, with the decorative
end design of the sari, or pallu, spread in front. Over the years, various
styles of tailoring the sari into the costume were developed. In one such
design, the decorative end of the sari or pallu is pleated and snapped on to
the costume so that it fans out as the dancer sits in chouka or square
position. A fabric is fastened around the hips from behind, which defines the
helpline.
In this
costume, the blouse is made from sari material as is the cloth draping the
front of the dancer. Various artistes have incorporated several variations on
the length or angle of the front fan in design, but the main distinction is a
vertically draped front or the knee-to-knee fanned out cloth. The woven sari
used for a costume can be from any of the many wonderful traditional styles of
the state, especially Sambhalpur, Berhampur and Cuttack. While the resplendent
Sambhalpur silk ikats are known for their intricate weaving technique and
subtle colour combinations, the Cuttack colours are more contrasting.
The
Berhampur silks are known for their narrow rudraksha borders and stunning
combinations. Another style that found favour with many dancers was the Bomkai
sarees with their long and delicately woven pallus, which could easily be
converted into the fan in the front. The fabric used for costumes on stage is
mostly pure silk, though in some cases dancers do opt for baafta, a mixture of
cotton and silk pure cotton as well. In the rehearsal practice situation,
salwars or churidar pajamas with a half saree reaching just below the knee are
the room.
Many
costumes include the unique single and double ikat tie-dyed and woven patterns
of Orissa which travelled to Southeast Asia from here. Rudraksha bead designs
date back to the Harappa civilization and are a frequently found motif on
orissa saris, as are the conch shells and fish, among many other designs.
Inspired by nature, these kalashs, or the ritual pitcher, temple gopurams complete
with the flag, conch shells and several types of fish, which are considered
positive energy symbols. Some dancers have also used costumes with the Gita
Govinda astpadis woven into them. These saris are not easily available but need
to be woven specially, for they are used only for he deities in the puri
temple.
ORNAMENTATION
Odissi
classical dance is unique among other classical traditions of India in its use
of silver ornaments. The Maharis and odissi dancers through the 1960’s
sometimes used gold ornaments near the face and on the hands, through the
three-tiered silver belt have been in use much longer. Today, odissi dancers,
all use silver from head to waist. The dancer wears a silver tika in the
parting of her hair; often with decorate silver chains running from the forehead
tika till the ears. The back of the hair bun may have a large silver filigree
pin or even a crescent silver wreath over the central pin.
Earrings
rise over the entire ear in peacock or geometric designs with large dangling
bell-shaped jhumkas. The dancer may wear two to four necklaces and may have
silver armbands, wide filigreed bangles and, perhaps, rings on every finger.
The silver work comes from the unique tradition of Cuttack filigree in Cuttack
district of Orissa.
In a delicate style, popular far beyond its state borders, it has become part of several southeast traditions as well. The belt of mekhala draped form the waist is usually made with circular silver strung together in the three lines. The jewellery is inspired from the detailed representations on the temples as well as medival oriya texts. The Oriya Mahabharata, written by Sarla Das in the 15th century, gives a detailed description of Prince Arjuna dressed as Bruhannari during his year Disguised as a dance teacher. Everything from the indigenous silk sari to the bangles and bells, and described in the text.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwvMJxJFu7oVp0R5L1tlylZ5BGRyuzUBPrURW6EvtUpMaI3QTVSaY8Ewc4OkleHfi1mrLBn8U-MxmY2cPQbOVPj-x1BLKVoi61oWos5rQY0e3FtaorJ6-4ZFKL2-1nGO6njuaG4MFEbA/s200/dsc08332_1.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahikurK50_gRM0u30-ivZg884hi3cUWfHAg3cvLFhVTb7yuY6INJO4nq-Xp5oo81AAyzw_wUlwJ2ybjDmKIYxVRUAoS2wZK0TwmM3sm7Ku-3YlHjnvEzeHdTUA0lFtJpoTaCD3XtszQs/s200/ODISSI+JEWELLERY.jpg)
In a delicate style, popular far beyond its state borders, it has become part of several southeast traditions as well. The belt of mekhala draped form the waist is usually made with circular silver strung together in the three lines. The jewellery is inspired from the detailed representations on the temples as well as medival oriya texts. The Oriya Mahabharata, written by Sarla Das in the 15th century, gives a detailed description of Prince Arjuna dressed as Bruhannari during his year Disguised as a dance teacher. Everything from the indigenous silk sari to the bangles and bells, and described in the text.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNpu9omwCBdlN-Fy2Zhq_bQy-5Cb_-hfU3QSEhVTcR5IUNXJI2dhyphenhyphen3s-C3EHz4hz_-DBxQ1ZmGuU7HeO6uddLGM1xWlkEFVjDVI2MChC_6MgUit0lxT5f7oFLTK6obejVKHFIFs7w2Ees/s200/il_fullxfull.226957758.jpg)
HAIR
STYLES
Among the elaborate hair designs seen on the
temple sculptures of Orissa and described in Abhinaya Chandrika, the most
commonly used style is a kind of hair-knot at the back of the head with a
pushpucuda. Pulling the hair back and trying it at the back of the head, then
pulling the hair through, around, and over a large ring to give fullness to the
shape, creates the beautiful hairstyle.
This is occasionally combined with a braid of hair plaited down the back, if the dancer chooses to follow the mahari tradition. The hair is well-secured to withstand the vigorous movements of the dancer during a performance. The art of carving shola pith has been used to create a unique stylization of flowers for the elaborate hairdo of the odissi dancer. The soft, while, inner stalk of the of the shola pith, which grows throughout Orissa and Bengal, Inspires a Unique Regional craft. The Odissi dancer wears Shola Pith flowers around her hair-bun and it is topped with a tiara of shola pith flowers representing the spire of jagannath temple.
This is occasionally combined with a braid of hair plaited down the back, if the dancer chooses to follow the mahari tradition. The hair is well-secured to withstand the vigorous movements of the dancer during a performance. The art of carving shola pith has been used to create a unique stylization of flowers for the elaborate hairdo of the odissi dancer. The soft, while, inner stalk of the of the shola pith, which grows throughout Orissa and Bengal, Inspires a Unique Regional craft. The Odissi dancer wears Shola Pith flowers around her hair-bun and it is topped with a tiara of shola pith flowers representing the spire of jagannath temple.
MAKE-UP
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPsw696Hd-pvadJz5XKENxESBIrpr96Gv8qfUlsiBfBWlQq1RhieeD3bc_Z0EgwIzlrLqAsrbXHKmzBcNup3lc6Blf6hgYntuE6407ALWYq9IBFh9TrVTiPdgUyGxMhCPqsWM6gEYyIXg/s200/odissi_103_b.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryPeYaWG4LVpqpjHH4FhxUWn4xC0bU48ETArUPtEUrOtrHj8tKnkclooUEaIE5ad3cGOJDKMi4G8Gi5OlCb0zQtDsCbGw0FoDgk-sEzX7G117-NybHwM99BltKOJHTCUfvtBgJy5l6SE/s200/sarita_odissi.jpg)
The designs drawn are bold, as the consistency of the
alta is like water and it does not lend itself so easily to very detailed
painting on the hands and feet. Besides the idea is to attract the audiences’
attention to the dancers’ hand and foot movement.
Very nice site
ReplyDeleteThanks for helping
ReplyDeleteIn berhampur wich place i purchase the odissi ornaments
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