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. 
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 12th 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.
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
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