TECHNIQUE OF ODISSI DANCE

The dance of Orissa, like many other India and Asian forms, is much grounded, connected to the earth, with a low center of body gravity, unlike western classical dance that lifts away from the earth as much as possible, both in basic standing positions as well as elevations from the ground. Odissi essentially makes use of the head, eye, neck, hand and foot-contact techniques described in the Natya Shastra. It is the stylistic emphasis as well as the use of elements unique to odissi that give it a totally distinctive character. The identifying importance of the sensual ‘S’ curve of the body in Odissi created by the asymmetrical tribhangi Position, can be seen in sculptures dating back to the dancing girl of Mohenjo-Daro.The lyrical shift of torso during dance phases as well as in final sculptures-queue poses is a defining characteristic of the odissi style of movement. 

Odissi is also a cultural and kinetic bridge between the geometrically etched dances extending south of Orissa and the lyricism and flow of dance in east India extending towards Southeast Asia. Put simply, the footwork may be precisely matching the percussion of the pakhawaj, while the upper torso litingly continues to shift throughout a rhythmic phrase.

BHANGIS-  Positions of the Body

• Sama Bhanga
• Abhanga
• Chauk
• Tribanga

The basic postitins of the body in odissi (bhangis) , include : Sama Bhanga is a straight position, a universal standing position with the feet together parallel. Abhanga is an asymmetrical position, with the body weight shifted to either side and one hip consequently dropped lower and the upper body slightly bent to compensate. Picture a teenage girl standing with one knee slightly bent, weight onto one hip and perhaps, a hand on her waist. Two body positions define the special character of odissi dance and its silhouette is symmetrical (chauk) as well as asymmetrical (tribanga).

Chauk is a symmetrical position position with a deep, low center of gravity, the bent legs turned out from the hips as wide as possible. Wider than the Bharatanatyam Ardhamandali, lower than the Western ballet demi-seconded, chauk is square and strong. The traditional distance between the feet is the measure of both hands, joined thumb to thumb and extended to the little fingers, touching the heels while some gurus use the slightly narrower measure of one foot. Variations on the chauk range from the wider stance, mandala, to al less physically demanding ardha chauk (half chauk), that is becoming popular as a replacement for chauk by some dancers in recent years.

Tribanga is the triple-bent, elaborately graceful position of the body. The head, shoulders, torso and waist, hips and knees zigzag back and forth across the center of gravity to create a balanced asymmetry. Body weight is shifted onto the hip of one bent, supporting leg with the other leg slightly in front, turned out with its knee bent. The torso shifts directly towards the side of the front leg, with a deep curve in the waist, while the shoulder remains lined up in a plumb line over the hip. The head inclines, with the chin and top of the head shifting equally to opposite sides, from the top of the cervical spine.

Chala – Torso Movement

The movement of the torso in odissi dance is one of its most distinctive features. The graceful shifting of the torso throughout a dance phrase gives a lyrical, softening effect to the movement, while the feet precisely match the rhythm accents. This torso shift does not displace the hips or shoulders from the plumb line of the body’s center of gravity. The hips remain steady as the torso shifts, while the shoulders reflect the movement of the torso by gently lowering on the side of the torso those contacts and rises slightly on the side to which the torso shifts. However, the shoulders neither go sideward with the torso, nor move independently up and down, which would create and exaggerated effect. Daskshyachala means to Shift right, Bamachala means Shift right, Utchala means shift forward and Prustha Chala means to shift backward.

Pada Bhedas – Positions of the feet

The four mentioned in the Abhinaya Chandrika are as follows: - Stambhapada, mahapada, shanupada and kumbhapada. Other traditional practices or six more footsteps were taught are. Ekapada, Lolitapada, Nupurapada, Asrita/suchipada,Trasyapada, Rekhapada. BHUMIS – Paths of movement using the stage space. Eight bhumis are followed in odissi that are mentioned in Abhinaya chandrika are: - Sama; Visama; Padma; Trikonaka also called Minadandi; Swastika; Chakra popularly called Ghera; Vartula; and Chaturasa. 

CHARIS – Movements of the feet

The core Charis in Odissi said to be from the Abhinaya Darpana of Nandikeswara are:-  Chalana; Chakraman; Sarana; Begini; Kuttana; Luthita; Visama or Vishansama. Other charis used in odissi and quoted in the abhinaya chandrika from sangeeta ratnakara are Ratha Chakra, Paravrutta, Syandita, Marala, Karihasta, Urubeni, Katara, Mruga Trasa, ardha-Mandalika, Sthitabarta. Charis that move into the air are called Akashiki Charis.

BHAUNRI (Bhramari) – Turns

Bhaunri is the oriya term for the more familiar Sanskrit term for a turn, Bhramari. Ekapada, Chakra, Kunchita, and anga Bhramari are found described in the text of Nandikeswar’s Abhinaya Darpana. Ekapada Chouka Bhramari is the most frequently used turn in odissi is performed in Chouka position lifting one foot to lolitapada and turning smoothly clockwise or anti-clockwise without any change in the body level. Chakra Bhramari is turning in chouka with repeated stamps of one foot while one foot remains as a fulcrum. Kunchita is turning in place by stamping the front foot while back foot remains in Prusthadhanu. Anga Bhramari is rotating of the whole upper body. Other traditional turns are Tribhangapada, Kumbapada, Dhanupada, Prusthadhanu and Begni.

UTHAS/UTPLABANA – Jumps

Utpavanas is the Sanskrit term for elevations and jumps called utha or Utplabana in Oriya. Four mentioned in Nandikeswar’s  Abhinaya Darpana are:- Alaga Utplabana is from chauk, raise one leg and jump on to it traveling to the side while lifting the other foot and bringing it down to Chauk. Krupalaga Utplabana is jump on one foot from saamapada raising the other foot back to touch the buttocks behind. Motita utplabana is from samapada, lift the right foot and jump onto it to the right and bring the left foot behind to Prusthadhanu Padda and repeat to the left, completing jumps to both sides. Ashwa utplabana is from Samapada, raise one foot and take a small jump forward raising the other foot and bringing it down to Samapada.

BHEDAS – Head, Neck, Eye Movements

Movements of the head (sira bheda), neck (griba bheda) and eyes (sristi Bheda), generally follow the shastric enumerations of the abhinaya darpana and natya shastra, though usage and frequency will vary significantly, according to tradition and choreography of various gurus. An important point to notice in the usage of griba bheda, or neck movements, would be that the side-to-side movement of the neck (sunarischa) is used when the body weight is absolutely symmetrical, as in the chauk position or moving in the typically odissi heels-up movement, called Beginni. Assymetrical movements like tiraschina and tathaibh paribarita that tilt chin and head while maintaining a ‘space hold’ on the head movement over the shifting torso is similar to the Andhra clay dancing dolls with each body part on a pivot point above the next, shifting back and forth over the centre of gravity.

Mudras of Hasta Abhinaya – Hand positions                                                                                   

The oriya terminology for single and combined hand positions from the medival oriya text, Abhinaya Chandrika was transposed into the equivalent Sanskrit terminology from Natya Shastra and Abhinaya Darpana to help convince the post-independence cultural czars of Delhi and Madras that Odissi merited the status of an independence classical style. It is interesting to note the similarities and differences in the Oriya and Sanskrit terminology:

Abhinaya Chandrika (oriya)              Natya Shastra (Sanskrit)                      Abhinaya Darpana (Sanskrit)

         Dhvaja                                                                 Pataka                                                Pataka

         Dhyana                                                                 Arala                                                  Arala

         Anushka                                                              Kapitha                                               Kapitha

         Bhaya                                                                 Mukula                                                Mukula 

       Ardhachandra                                                   Ardhachandra                                      Ardhachandra

       Aratrika                                                                Shikhara                                              Shikhara

       Kshipta                                                                 Alapadma                                           Alapadma

      Nirdeshika                                                                                                                         Suchimukha

      Hansa Pakshya                                                    Mrigasirsha                                        Mrigasirsha

      Gomukha                                                                                                                          Simhamukha

      Mrigakshya                                                                                                                      Hamsaya

     Orissi                                                                                                                                   Kathakali

     Danda                                                                                                                                  Kapitha

     Tambulla                                                                                                                             Arala

    Bardhamanaka (lalata)                                                                                                     Bardhamanaka    

 Traditional Odissi variations of single hand gestures – Asamyukta Nasta Abhinay

 Anda – The stick, staff of scepter, Ankusa – the elephant goad, Sarpa-sirsa – the serpent head, Vastra – clothes, Dhyana – meditation, Vardhamana – progression, Prabodhika – the awakening one, Suci – the neddle,  Puspa – the flower,   Tambula – the Quid of betel, Bhramara – the bee, Vyaghra – the tiger, Man Bana – the arrow, Dhanus – the bow, Venu – the flute.

The Traditional oriya double handed gestures: Samyukta Hasta Abhinaya  

Padma – the flower, Gabakshya – the window, Mayur – the peacock, Ubhaya-kartari – the double arrow-shaft; Pradeepa – the small oil lamp.

COSTUME AND MAKE UP OF ODISSI

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 15^th 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.

Abhinaya Chandrika, the Sanskrit text specifically on Oriya dance, delineates in great detail in the make-up, costume and ornaments of the danger. It specifies a brightly colored nine-yard sari, generally in red or green made of indigenous silk, a brightly coloured, bejeweled Kanchula or tight-fitting blouse, the apron of frills slirting the hips and draping in front, called Nibiandha, and a belt with tassels tied at the waist, called Ajhoba. This quite accurately describes the costume worn by the maharis at the Jagannath temple in Puri but the costume worn by the odissi dancer on the stage today is closer to that worn by the Gotipus or young male dancers who had been performing outside the temple over the last few  100 years. Many of the ornaments described in the Abhinaya Chandrika continue to be used in the dance as well as in daily life. A dancer can certainly use fewer ornaments than mentioned in the text. 

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.

MAKE-UP

The make-up developed over the last half a century emphasizes classical images of feminine beauty. The eyebrows should arch, and even curve up at the ends, to resemble the bow from which the “GOD OF LOVE” shoots his arrows. The eyes are outlined with black kajal (kohl) extended far beyond the corners of the eye to resemble a fish with a tail. The red bindi of kumkum on the forehead is surrounded by white painted designs, representing the sun and moon, or a flower.

The hair-curl, spiraling on the cheek in front of the ear, is also standard in odissi make-up for the stage. Alta, a red natural dye, outlining the feet and on the palms of the hands and fingertips, completes the make-up. The alta on the feet is considered to make the feet look like lotus flowers. It also serves to articulate the foot movement for the viewing audience.

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.

Odissi Today and Tomorrow

             The challenges facing traditional performing arta are considerable. Nonetheless, art forms like odissi fulfill aesthetic and metaphysical needs on multiple levels that will continue to exist, irrespective of how aced life becomes.there is some concern on whether classical dance forms like Odissi will still have a place in the new century. Some of the issues and challenges include the potential dilution of tradition by innovation and fusion, the effects of institutional learning vs the guru-shishya parampara (teacher-student transmission lineage), the warning interest and attention spans of audiences raised on television and information technology, and problems of patronage of professionalism in a market driven economy. The survival of classical dance in India has probably not been so endangered since the Victorian British passed their antinautch laws, yet, to use a well-known quotation: News on my death has been greatly exaggerated. Dance traditions are organic: living, growing and changing to reflect the society in which we live and to serve aesthetic, intellectual, emotional and spiritual needs. Change must be both artistically sound and should sensitively reflect essential shifts in society rather than superficial or commercial pressures for novelty.

Odissi has successfully transitioned to the concert stage from the inner sanctums of temples. Now there are the challenges of adjust to new contexts, including television and even internet-based media. Experiments in theme, choreography and even venue will produce a variety of results, some ill-conceived and some that are aesthetically sound. As new texts, themes and collaborations become more sophisticated in integral ways, they may find a permanent place in the repertoire. The spread of odissi outside naturally inspires many artistes to explore new texts and languages. An invocation to the deity of a particular site of performance, and even in the local language, is an expansion rather than a breaking of tradition. Many dancers experiment on choreographing to non-traditional texts, or using fusion of forms and non -traditional musical instruments. While those explorations are not always successful, they may eventually strengthen the organic growth of the tradition. Despite the antiquity of classical dance in india, they can all be considered neo-classical owning to the revival and reconstruction of most of them in the early 20^th century.

Issues related to training, nurturing and professional career viability for the dancer are perhaps more serious challenges than ways that the classical dance repertoires will develop in the new era. First, dance training of artistes through the idea of guru-shishya parampara is virtually a thing of the past. This one-to-one teaching over a length of time, in an atmosphere free of distractions, ideally allowed the teacher to totally control the student’s development. Now, imbibing the teachers knowledge and attitude towards life, philosophy and the performing arts is reduced to primarily technical dance practice, unless the guru trains his or her own child. Even gurus teaching their own children have to contend with the demands of school and other interests competing for the child’s focus.

In the ideal institutional learning situation, students should be able to depend on developing their art in a situation where the techniques, theory, performance practice and related areas of music, philosophy, language, history and fundamentals of the art are structured into a curriculum and taught by master teachers in each subject. This should create an atmosphere where the best training is imparted to enough students to maintain the traditions and obtain exposure and interaction with others to foster a personal sense of aesthetics, compatible with tradition and creativity.

Unfortunately, this ideal institutional model doesn’t exist. The potential faults of a guru0shishya parampara have too often been brought into the instructions: lack of responsibility for nurturing the artiste, selfish withholding of expertise for personal reasons, disregard of commitments of time and effort in scheduled classes. Without the benefits of learning under a parental, dedicated master teacher or a committed pedagogy of an institution, the prospect of quality artistes than can hold the audience are dim. In fact, looking at the solo performances of Odissi, Kuchipudi and Bharatanatyam, one generally sees senior artistes and a vast population of fledging young artistes who soon disappear without developing into a middle level range of professional artistes. 

Young dancers come to the stage without the involvement and depth of training needed to provide a solo performance that can hold an audience for hours. This results in a chicken or egg situation where the audiences find traditional solo dance performances quaintly charming and rather boring after a short time of enjoying the youth and energy of the artiste. Past practices included introducing a young artiste to performance at puja or temples programs, then to discerning rasikas, and finally to a wider public. Young artistes do work hard, but perhaps appear on the stage with more public relations than is warranted and the confused audience finds that the art is lacking, rather than the artiste. This is where group dance choreography and new themes become the most viable solution for interesting performances by dancers trained within modern constraints.

FORMS OF ODISSI PERFORMED IN RECENT DAYS

The first performance of Odissi Dance outside Orissa was given by Priyambada Mohanty and D.N Pattanaik in the Inter University Youth Festival held in Delhi in 1954. Eminent scholars like Mohan Khokar, Charles Fabri etc got interested in odissi thereafter and the famous art journal MARG brought out a special issue on Odissi Dance in 1960. In the year 1964 in a national seminar and festival held in Hyderabad Odissi received its first recognition as a classical dance system.

DIFFERENT TYPES OF ODISSI DANCE PERFORMED IN RECENT DAYS

1   Mangala charan is an invocatory piece where the dancer evokes the blessings of the lord and the audience.

 

 Batu nritya is actually an item of pure nritya held in hnour of Bakuta Bhairava, i.e Shiva. The dance is not accompanied by any song but throughout the item a refrain of rhythmic syllables is provided. This refrain is in the form of one-line UKUTA and as this is recited in the tala, different Jati-patterns are improvised and executed with feet.

 Pallavi  is elaboration of both the dance and the accompanying music. In the beginning the accompanying music. In the beginning the acconpaying vocalist sings the raga-murti or the raga-rupa of a particular raga( on which the pallavi music is based). The Sanskrit sloka, taken from orissan texts on music and describing the murti or image of the raga is enacted by the dancer. Then a line of Ukuta is sung basing on the notation of the particular raga. The dancer keeps beating on the feet. Then a number of pure nritya sequences follow. Intermittently different swara patterns and tala patterns are worked out through various movements. Pallavis are known after their ragas on which they are based, some popular pallavis are Basanta, Kalyana, Mohana.

 

Abhinaya is acting- out of the emotions expressed in the accompanying song or lyric. As we have mentioned earlier the astapadis of Jayadeva and Oriya songs from medieval poets of Orissa are sung. These poets mention the raga and sometimes even tala, which must be followed while singing it. This has helped to maintain the pristine purity of age-old style. Odissi music as an accompaniment differs from its solo performance. While in the former the stress is laid on histrionics of Abhinay, in the solo performance, as pointed out in chapter 4, the performer tries to maintain even keel between Ragang, Bhavang and Natyang. 

 

Mokshya Nata accentuates moksha (salvation) in more than one sense. The dancer reminds the audience in this concluding item the ultimate aim of art which is reintegration with the absolute. Form wise it means reintegration and founding up of the main theme and the main bhava. This is an item of pure nritya and is performed in fast tempo. There is no music. Only there is recitation of rhythmic syllables, which are also played out on the mardala. 

Odissi music :- as a cognate of odissi dance

Saranga dev conceived of sangeet as a triad- a harmonious union of song, music and dance. He assigned song the most important place in that triad. Ideally, odissi is also a triadic package of odissi song, odissi music and odissi dance. This triad was known as sampradaya in ancient Orissa. To the non-orissi world, however, odissi conjures up the image of only a dance style called ‘Odissi’. It is difficult to say exactly since what time odissi dance and music, as they are known today came into being. But it is a well-known fact that odissi dance and music in their present formal structure came into existence through the devdasis of Jagannath temple at Puri.

These devdasis were also known as Devaganikas (the prostitues in the service of the Devas). But the Devdasis of Puri were more popularly known as Maharis. The devadasis are divided into two types, namely, Bhitara Gaauni and Samprada Nijoga. Though the works are divided among them, the natures of work do not differ much. They sing mangala gana during various auspicious functions in the temple or in the palace.

     When Krishna janma is dramatized in the temple, the devdasis play the role of Yasoda and rohini and Breast-feed Krishna. In some festivals the dance accompanies song, in some there is only dance and music and no song. The Devdasis dance and sing during the following festivals: - Damanaka Chaturdasi, Dola, Pushyaviseka, Rath yatra, Snan yatra. There are several forms of practices of dance forms which were practiced after the Ganga dynasty was established in Orissa in the 11^th-12^th century A.D.

Pre-ganga Practices

1.      Hera Panchami: - in this festival the devadasis invite the daitapatis (a section of the priests) and accompany goddess laxmi.

2.     Niladri Bije Festival: - there is quarrel between Laxmi And Narayan. In the polemics arising out of that Quarrel, the devasis argue on behalf of Laxmi.

3.     Sakala Dhupa: - this is breakfast time od lord Jagannath. The devdasis dance near the Garuda Pillar.

4.     Chandan jatra: - the devdasis sing near the Kalaghat door.

5.     Sola puja: - during this festival or ritual the devdasis dance in the precinct of goddess Vimala’s temple.

These five sevas are known as Angila practices. These were there before the Ganga kings introduced some more practices in the following manner:

Post Ganga practices

1.     Rukmini Parinaya Festival: the festival to commemorate the marriage of rukmini to the lord, it is done in south indian style and the devdasis are employed to sing the mangala gana (auspicious songs) in this devine marriage festival.

2.     The practice of singing mangala gana during various auspicious festivals in the king’s palace.

3.     The practice of devdasis dancing on the chapa (boat-riding of the lord) during the Chandan Festival.

Needless to say that here nritya includes also song and music. Thus from ancient times the whole triad of Odissi Sangeet is considered bhava-pradhan (emotion-centered, or emotive) conforming to the conditions laid down in the sastras for margi nritya or daivi nritya mahari devdasi dance can be classified as margi. Besides though it is loosely called nritya, odissi dance as we have observed earlier, includes nritta (dance without song or acting) nritya (dance with song and music) and natya (acting or abhinay with songs).

Perhaps till 12^th century A.D. Odissi dance was performed only as nritta. It was king Narasingha Deva 2 (1278-1307 A.D) who introduced singing of Gitagovindam authored by poet Jayadeva in Jagannath temple. A royal declaration in possession of an old Mahari throws light on the various stipulations which governed the duties of the maharis in former times. It says …... At the time of performance, they are not to look at the the audience. Their dance must strictly follow the shastras. They must dance in the following talas : Pahapata, Sarimana, Parameswara, Malashree, Harachandi, Chandan Jhoola, Shreemangala, Bachanika and Jhuti Atha-tali, they are to preform bhava only from the Geeta Govindam.

To keep the purity of the dance, song music intact great caution is taken. Every day during the first puja service the devdasi dances in the jagamohana (the entrance room to the sanctum). Behind her sit the mardala player and the brass manjira player behind them stands the minanahaka, the dance teacher.It was in the 16^th century that this classical dance form was gradually extricated from its ritualistic function and started being used for secular entertainment of royal audience. King prataparudravera (1497-1538 A.D) according to a stone inscription inscribed on the jayvijay gate of the Jagannath Temple, made a proclamation that no other song except Gitagovindam would be sing in the temple. 

When odissi dance started being performed outside jagannath temple, devadasis were not always available. In fact without a fiat from the Puri ruler they were not allowed to perform everywhere. The society was so orthodox that neither the family nor the society permitted girls to dance in public places. That is why women were made to dance in the temple, the system was legitimized by calling the girls ‘wives of the gods’. So also performance for the kings by girls was legitimised by the fact that the kings were ‘gods on earth’. 

But girls performing for the public were taboo. So Batu or manabhaka that is man in woman’s disguise used to dance in the past for the entertainment of the public. Boys performing odissi dance in the guise of women were locally known as Gotipua. Originally the practice of women performing classical dance in the guise of women was derided and was considered to be Tamasi Nritya. 

here are the following links of youtube 

1. https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&cad=rja&uact=8&ved=0CDgQtwIwBmoVChMI06jD1v2myAIViwaOCh2PMA1f&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DUfQ5TJ4YrIg&usg=AFQjCNGc78obr253pZAcL5bhH2eR77NQZQ&sig2=A798BSR69snuzjq4I7BvOg

2. https://youtu.be/X7RSKIJ-_CY 

3. https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=video&cd=1&cad=rja&uact=8&ved=0CBsQtwIwAGoVChMIi6H7jP-myAIVxpCOCh3UFw9e&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DV9egDnoW-H0&usg=AFQjCNGcIDpfGDlAnT0FtHUjqGhEExxl9Q&sig2=fIhOhXfYmJnjiBefQiAECA&bvm=bv.104317490,d.c2E