The Odissi dance form is one of India’s oldest classical dance traditions. According to engravings found at the Udayagiri Monastery, Odissi was patronised as early as the 2nd Century BC, and the practise continued unabated until the 16th Century AD.
The conceptual roots of Odissi may be traced back to the ancient Sanskrit literature Natya Shastra, whose antiquity is demonstrated by dancing positions in Odissi Hindu temple sculptures, as well as archaeological sites associated to the Sanatan Dharm, Buddhism, and Jainism. During British rule, it was prohibited. Indians protested the prohibition, which was followed by its revival, reconstruction, and growth once India was liberated from colonial rule.
After enduring the dark years from the 16th century till Indian independence, Odissi saw a revival, becoming a worldwide phenomenon. Odissi is regarded as one of India’s eight classical dance styles, which is known for its poetry, passion, and its focus on the bhakti bhava. Odissi performers and writers claim that it is one of the oldest of India’s traditional dance styles and that it was once performed in Odisha’s temples. These statements are backed by historical and literary evidence which mentions Odissi as an Odra-Magadhi style of dance, as well as existing ritual traditions.
Babulal Doshi, a businessman, established the Kala Vikash Kendra (KVK) in Cuttack in 1952, which was the first center for Odissi dance studies, development, and teaching. Artists began presenting programmes in Odisha and outside Odisha around 1950, which demonstrated ‘traditional’ Odissi. Other institutions, such as the government-run Utkal Sangeet Mahavidyalaya (1964) and the Odissi Research Centre, which was later renamed ‘Guru Kelucharan Mohapatra Odissi Research Centre’ in 1986, and private schools founded by individual gurus, were established quite later.
Organising the Odissi dance and setting up instituions also assisted the dance style’s exposure outside Odisha. Kelucharan joined Kalicharan Patnaik at an All India Dance Symposium in Chennai (then, Madras) in January 1958, with his pupil, Sanjukta Panigrahi. In April 1958, Jayanti Ghose and Deba Prasad performed again at the Sangeet Natak Akademi’s All India Dance Symposium in Delhi. The performers participated on behalf of KVK on the both occasions.
Natya Shastra’s principles are primarily followed by Odissi. Face expressions, hand movements, and torso movements are all utilised to describe the feelings, and emotions of one of the nine rasas. The body posture is essential to the Odissi dance form and is a distinct characteristic. The torso moves along an axis crossing through the middle of the upper half of the body while the lower half remains stationary. To prevent unwanted shoulder or pelvic movement, this control requires extensive training. Flat, toe, and heel contact are all possible foot motions. These are largely applied in complex combinations.
Pakhawaj (a kind of drum) which is often played by the Guru himself, a singer, a flutist, a sitar or violin player, and manjira make up an Odissi orchestra. Sambalpuri and Bomkai saree are the two most popular sarees worn by female dancers. They wear ornate Odiya silver jewellery and a unique hairstyle.
Odissi is known for its sensuous and sacred art in a way that is both relatable and spiritual. The stories of Bhagwan Vishnu’s eighth avatar, Bhagwan Krishna, are represented in Odissi, which adopts most of its concepts from Jayadev’s ‘Geeta Govind.’
Odisha and its global relevance are garnering a rising audience all over the world. Odissi has served as a conduit for globalization, with its trainees and Gurus receiving praise in a variety of events and festivals. It has evolved into the cultural representative for the state and region that is rich in hidden treasures and natural wonders.
