The
lyrical, sensuous classical dance style, known as Odissi today, belongs to the
eastern part of the country, and is referred to in the
Natya Shastra Odra- Magadhi. It is characterized by undulating torso
movements and gait which transform seamlessly verifying patterns that are
typical of the region's culture. Odissi traces its roots at least to the 2nd
century BC, through archeological and textual evidence. Although it existed in
the some form or the other through the centuries, it is difficult to say exactly
what form it took post-independence in 1947.
At the time
of its reconstruction, this style that is known as odissi today, sought its
roots in the living dance tradition of the Gotipus (boy dancers) as well as the
almost extinct Mahari (temple devadasis) tradition. Insightful gurus and the
scholars also found the Orissa’s sculptural legacy (particularly within the
temples) to be a major resource for devising the movements and positions to be
used in dance. In Orissa, people with a talent for dance normally found an
outlet in popular Oriya theatre before odissi emerged as an independent form.
Most of the girls pursuing dance at that time learnt other styles like
Bharatanatyam, Kathak, or even Uday Sankar style.
After the 1950’s, odissi was established as a new style in the classical field. Priyambada mohanty and Indrani Rahman were able to arouse initial curiosity in the 1690’s while Sanjukta Panigrahi, Kumkum Das, Sonal Mansingh and some others brought about a serious interest in the 1970’s and 1980’s when it became immensely popular. Ground-breaking work was done by the senior gurus in terms of structuring the form and creating new pieces. A lot of established dancers of other styles were attracted by Odissi and chose to add an item or two to their repertoire. Dedicated exponents of odissi presented full-length performances were held initially.
Gurus like Mayadhar Raut and Hare Krishna Behara settled and taught in Delhi, while guru Shankar Behara to Mumbai and Muralidhar Majhi to Kolkata, to start Odissi classes. In Orissa institutes like Kala Vikas Kendra, National Music Association and Utkal Sangeet Mahavidyalaya did pioneering work, as a result of which we see today a large number of gurus and dancers within this form. It was in 1985 that Angahar a landmark festival of odissi was organized by the Gandhara Mahavidyalaya, New Delhi. It brought together all major gurus, scholars and exponents of the dance form, including representations from the Gotipuas and Mahari traditions for the first time. This enabled an assessment of the development of this form since its revival. Initially it was the solo format that brought Odissi to the fore. The repertoire of Odissi usually lasted for about two hours.https://www.youtube.com/watch?v=AQm9vkJawI4
A Mangalacharan and couple of pallavis, the Dashavatara and the detailed presentation of the Ashtapadis formed the core of the presentation. Oriya songs were rarely presented, though many dance-dramas were choreographed in Orissa that had Oriya literary content. This music was a blend of the Hindustani and the Karnataka, but with a typical Oriya flavor; most oriya musicians learnt either the Hindustani or the Karnataka styles. Unfortunately, traditional forms of odissi music like Champu, Chhanda and Janana were rarely presented at music concerts, though this trend has changed recently. There was a lacuna in terms of musical forms available for dance, especially form Nritta (abstract) items. Even the Talas and basic Bols (syllables) had to be culled from unstructured material. Except for lilting Oriya songs which were not necessarily Raga-based, composers had to resort to the Hindustan or Karnatak mode, where the structure of a Raga was required as a base.
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| one of the postures of Odissi dance |
Today,
three main styles have emerged within Odissi, representing three major gurus
that were involved in the restructuring of the form. Gurus Pankaj Charan Das,
Deba Prasad Das and Kelucharan Mohapatra. Guru Pankaj Das’ style carries
forward maharaja tradition; Guru Deba Prasad Das’ a robust and somewhat rustic
feel, while guru Kelucharan Mohapatra, the most prolific and influential of
them all, has a very intricate and filigreed treatment both in the abstract and
expressional aspects. In the last few years, the principally of the solo format
seems to be receding, to be replaced sadly by a plethora of increasingly tableau-like
group work.
Often, full-length solo performances do not have foray even in Orissa; partly due to organizer’s demands for so-called new work.
This is somewhat disquieting and even alarming to the connoisseur, because our tradition allows for any amount of creativity within its framework. However, this does not detract from some very interesting group choreographies that have emerged from serious dancers and gurus. Many choreographers incorporate Gotipua dancers and Chhau elements to enrich presentations, though one feels that this should be done with discrimination and aesthetics in mind. Fusion attempts with western contemporary have rarely proved successful.
Attempts at incorporating oriya literature in dance is a welcome and satisfying trend. It is only a few who seek the roots of the form to forge newer directions.
Often, full-length solo performances do not have foray even in Orissa; partly due to organizer’s demands for so-called new work.
This is somewhat disquieting and even alarming to the connoisseur, because our tradition allows for any amount of creativity within its framework. However, this does not detract from some very interesting group choreographies that have emerged from serious dancers and gurus. Many choreographers incorporate Gotipua dancers and Chhau elements to enrich presentations, though one feels that this should be done with discrimination and aesthetics in mind. Fusion attempts with western contemporary have rarely proved successful.
Attempts at incorporating oriya literature in dance is a welcome and satisfying trend. It is only a few who seek the roots of the form to forge newer directions.
