Odissi terminology

Different terminologies are used during the practice of odissi dance performance they are as follows :-

Chanda:- In taal, this would be how the divisions of the taal are made e.g. in Adital (Odissi), the sixteen beats are divided into 4 groups of 4. So the Chanda for Adital is 4 + 4 + 4 + 4. This describes what the Bhagas are.

Anadha:- Hide category of the 4 musical divisions, e.g. Mardala or Pakhawaj (Drum), Tabla, and Mridangam.

Asanjukta Dhvanis:- Sound created by striking the Mardala or Pakhawaj (Drum) with one hand.

Goti:- These are barrel-shaped tension pegs made of wood which adorn the Mardala or Pakhawaj (Drum). The straps (Pitha) connecting the two apertures of the Mardala run over them. These pegs can be moved to either increase or decrease the tension of the leather membranes covering the two apertures of the Mardala and are useful in tuning it.

Gotipua:- Young boys trained in the fine art of Odissi dance. The Gotipuas were allowed to leave the temple and dance for the public. The current form of Odissi is heavily influenced by the Gotipua tradition (and also the temple carvings from Odisha.)

Avartan(a):- One complete cycle of a taal.

Bhajan:- It is any type of Indian devotional song and has no fixed form. It may be as simple as a Mantra or Kirtan or as sophisticated as the Dhrupad or Kriti with music based on classical Ragas and Talas. It is normally lyrical, expressing love for the Divine.

Alap:- It is the opening section of a typical Indian classical performance. It is unmetered, improvised (within the raga) and unaccompanied (except for the drone of the tanpura), and is started at a slow tempo.

Bani:- The spoken drum mnemonics. During dance performances Banis are spoken by the percussionist or the guru.

Bhaga:- In taal, this would be the groups the taal is divided into. Also the points on which the tali, or khali would be e.g., Adital (Odissi) is divided into 4 groups of 4 beats. It is said that Adital has 4 Bhagas. These are the measures.

Devadasis:- They were the original temple dancers who were "Servitress of God". They were dedicated to a deity or a temple. Apart from taking care of the temple and performing various rituals, these women learned and practiced Odissi dance, for dance and music were an essential part of temple worship. They enjoyed a high social status.

Gita Govinda:- Poet Jayadev's famous work depicting the relationship of Radha, Krishna and Gopis in Vrindavan. Themes from this work have a great significance towards the classical arts of India.

Khanda Ukutta:- When bani and ukuttas are formed together to make phrases. e.g., Kititaka Gadigana.

Mana:- The ending sequence that is repeated to designate that the ending of the piece or of a section that is typically in 3 repeats. People in Odisha interchangeably use Tihai and Mana, but they are the same.

Maharis or Devadasis:- The original temple dancers of Odisha, but now extinct. This is the root of Odissi dance that was later taught to young boys, Gotipuas. The style is now modernized and work is being done to preserve it.