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.