Most of the classical dances of India trace their lineage to Bharat Natyam. Odissi dance can be distinguished from others by the display of emotions and sentiments. For persons not familiar with the intricacies of Indian classical dances, Odissi presents a rich display of grace and charm. Most of the dance themes are woven around the stories of Radha and Krishna, the divine couple whose love lores are fairly well known throughout India. The love lyrics of Jaydeva and the Sanskrit songs of Geet Govinda are the two famous dance themes for Odissi compositions. These together provide a rich portrayal of emotions of love, separation, and enticement displayed in the Odissi dance forms.The concluding item in the performance is usually the mokshya nata depicting the release of the atma (soul) to become one with the Supreme Power. It is essentially a nritya (dance) item and is performed in fast tempo. There is no music but the tempo of the dance keeps the audience spellbound.
A detailed description of Odissi dance was documented in the 15th century by Sri Maheswara. His treatise, Abhinaya Chandrika is one of the main references still in use by the gurus of Odissi dance.
In bygone days the costume was worn by devadasis (temple dancers) of Jagannath Temple. Present day dancers still follow the overall pattern with a few modifications. Practically no one wears the jhoba now. Ornaments too follow the traditional forms as laid in the Abhinaya Chandrika. Commonly used ornaments are alaka for the head, kapa for the ears, taiya for the arms and bengapatia for the waist and around the neck.
But how powerful was the impact of the dance on society? This can be judged from the description of the dance performed by the devadasis at the Jagannath Temple and from dance forms chiseled on stone in the temples of Bhubaneswar, Konark and other places of worship.
The earliest carvings of the dance forms are seen in the Rani Gumpha caves (2nd century B.C.). The other famous temples where they are seen in sculpture or relief are Parasurameswar temple (8th century), Raja Rani temple, Lingaraja and Gauri temples and many others.
In all these temples are chiseled forms of dance poses (bhangis) are based on the three bend concept (tribhanga). The three bends are the crossing of the legs, the curvature of the waist and slight inclination of the head. The curvaceous form is also expected to present amorous looks with grace. The grace, the beauty and the enchantment of an Odissi dance is, as it was thousands of years ago, enshrined in the temple carvings of Orissa.
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