Odissi dancer

An Odissi exponent

Odissi, also known as Orissi (Oriya: ଓଡ଼ିଶୀ oṛiśī, Devnagari:ओड़िसी), is one of the eight classical dance forms of India. It originates from the state of Orissa, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences.^[1][2] The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1^st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis^[3][4] and upon the basic square stance known as Chauka or Chouka that symbolizes Lord Jagannath. This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

Origin and History[link]

Temple rituals of Jagannath Temple, Puri, included Odissi.

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of Emperor Kharavela. Flanked by two queens, Emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Orissa. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Orissa. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.^[5]

The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Orissa), dating to the 2^nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Orissa.^[6]

Temple history[link]

In Bhubaneswar, the capital city of Orissa, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2^nd century BCE, that served as a royal palace for Emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara temple in Bhubaneswar.

In the excavated ruins of the Buddhist Ratnagiri hills in Orissa, dating back to the 6^th thru 9^th centuries, several panels and icons of dance are found resembling present-day Odissi dance.

In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present day Odissi. When Orissa became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

Manuscript evidence[link]

Sage Bharata's Natya Shastra, written in 2^nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.

Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.

The illustrated manuscript Shilpaprakãsha deals with Oriya architecture and sculpture as well as the figures of dance. In this, one finds a elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.

A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Oriya dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.

This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

Mughal and British period[link]

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage in respect to the king and ceased to be respected solely as servants to Lord Jagannath. Although the British have helped India in several ways, a decline and degradation occurred in all the Indian Classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their well-deserved place in society, were forced to prostitution to survive in the changing climate of political and cultural oppression of the British.

Tradition and dancers[link]

Odissi pose at Konark Sun Temple

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

• Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
• By the 6^th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
• Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.^[7]

Mahari Tradition[link]

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.

The first evidence of the Mahari institution in Orissa comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10^th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.

Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11^th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

Gotipua tradition[link]

In the Oriya language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as females. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by females.^[8]

Dance vocabulary and repertoire[link]

Odissi group performance

Odissi group performance

Traditional Odissi repertoire consists of:

Mangalacharana

An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation - above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

Battu Nrutya

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Orissa. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Orissa. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

Pallavi

A pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means “blossoming”. This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

Abhinaya

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Oriya language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath - an incarnation of Lord Vishnu.^[9]

Dance drama

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

Moksha

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

Odissi terminology[link]

Sharmila Biswas performing Odissi in a dance festival in Kerala

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.

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.

Avartan(a)

One complete cycle of a taal.

Bani

Odissi term used to describe the spoken drum neumonics. During dance performances Bani 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 Bhago. These are the measures. Odissi music term.

Bhajan

It is any type of Indian devotional song. It 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.

Chanda

In tal, this would be how the divisions of the tal are divided. 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.

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.

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 Orissa.)

Khanda Ukutta

When bani and ukuttas are formed together to make phrases. e.g., Kititaka gadigana. Odissi term.

Mana

The ending sequence that is repeated to designate that the ending of the piece or of a section. Typically in 3 repeats. Odissi term. People in Orissa inter change Tihai and Mano. But they mean the same.

Maharis or Devadasis

The original temple dancers of Orissa, 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.^[10]

Odissi music[link]

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music,^[11][12] i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladeva Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four (34) letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas^[11][12] are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

Costume and Jewelry[link]

See also: Tarakashi, Sambalpuri Saree and Bomkai Saree

The jewelry is made from intricate filigree silver jewelry pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Orissa.^[13] The process of creating each piece takes the collaboration of many artisans each specialized in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewelry pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewelry piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.

The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red colored dye called the Alta.

The Odissi Costume

The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Orissa. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).

The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterized by features of traditional prints of Orissa, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.

The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

Odissi gurus and performers[link]

Padma Vibushan Kelucharan Mohapatra, Guru Pankaj Charan Das, Guru Deba Prasad Das and Guru Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi, the great exponent of Odissi, was a leading disciple of Guru Kelucharan Mohapatra's and popularized Odissi by performing extensively, both in India and abroad. In the mid-sixties, two other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were best known for their performances, both in India and abroad. Shrimati Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948. This is widely upheld as the first ever performance of a classical Odissi dance item after its contemporary revival.^[14] Padma Shri Mayadhar Raut also played a major role in giving Odissi dance its classical status. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance items, and presented on stage the enchanting Gita Govinda Ashthapadis, portraying Shringara Rasa. His notable compositions include Pashyati Dishi Dishi and Priya Charu Shile, composed in 1961.^[15][16]

Most of the present day gurus were Gotipua dancers themselves, and have trained dancers and teachers all over India and abroad. In the early fifties, the outside world began to take note of Odissi. Priyambada Mohanty Hejmadi and Dr. Susama Tej represented Orissa in the classical dance category at the Inter University Youth Festival, New Delhi, in 1954 and 1955. It was here that Dr. Charles Fabri witnessed their performances, hailed Odissi as a great classical dance form, and helped Indrani Rehman and Sonal Mansingh study it. Sadly, Priyambada Mohanty Hejmadi left for the US for 16 long years, where she hardly performed, barring a recital or two here and there. She returned to India only in the mid-nineteen seventies, by which time well known dancers had already occupied a permanent and prominent space on the Odissi horizon, and by which time Odissi had evolved considerably. The baton in India was wielded gloriously, and with outstanding success and public acclaim, by Sanjukta Panigrahi, Kumkum Mohanty and Sonal Mansingh, each of whom was a major and distinctive star.

Kelucharan Mohapatra, Pankaj Charan Das, Deba Prasad Das, Raghunath Dutta, Bandana Das, Cuckoo Meena Mohanty, Dr. Nandita Samuel, Kumkum Mohanty, Mayadhar Raut, Minati Misra, Oopali Operajita, Protima Bedi, Ritha Devi, Sanjukta Panigrahi, Sonal Mansingh and Surendranath Jena contributed notably to the propagation of Odissi, starting in the fifties, right up to the eighties and nineties: the golden years of the Odissi renaissance.

Eminent contemporary gurus and performers in alphabetic order include Aloka Kanungo, Alpana Nayak, Anandi Ramachandran, Aruna Mohanty, Bichitrananda Swain, Bijayini Satpathy, Chitralekha Patnaik, Daksha Mashruwala, Dibakar Khuntia, Dipanwita Roy, Dr. Bidisha Mohanty, Durga Charan Ranbir, Gangadhar Pradhan, Gita Mahalik, Harekrishna Behra, Ileana Citaristi, Jhelum Paranjape, Jyoti Rout, Kasturi Pattanaik, Kiran Segal, Kumkum Lal, Madhavi Mudgal, Madhumita Raut[2], Manoranjan Pradhan, Meera Das, Muralidhar Majhi, Nandita Behera, Natabar Maharana, Oopali Operajita, Poushali Mukherjee, Ramani Ranjan Jena, Ramli Ibrahim, Ranjana Gauhar, Ratikant Mohapatra, Ratna Roy, Sharmila Biswas, Sharmila Mukherjee, Sharon Lowen, Snehaprava Samantaray, Sonal Mansingh, Sri Mahdeva Raut, Srinath Raut, Sujata Mohapatra, Surupa Sen, Sutapa Talukdar, Trinath Maharana and several others around the world.

Some of the upcoming Odissi performers in alphabetic order are Aadya Kaktikar, Arushi Mudgal, Ayona Bhaduri, Bani Ray, Bijay Sahoo, Devraj Patnaik, Ellora Patnaik, Kaustavi Sarkar, Kavita Dwivedi, Lingaraj Pradhan, Madhusmita Mohanty, Masako Ono, Niharika Mohanty, Pabitra Kumar Pradhan, Priyadarshini Roy, Puspita Mishra, Rahul Acharya, Rajashree Chintak Behera, Rajashri Praharaj, Rajika Puri, Ramesh Chandra Jena, Rekha Tandon, Sandhyadipa Kar, Saswat Joshi, Saswati Garai-Ghosh, Shibani Patnaik, Shipra Avantica Mehrotra, Shreelina Ghosh, Sonali Mishra, Sreyashi Dey, Swapnokalpa Dasgupta, Vishnu Tattwa Das, Yudhistir Nayak and several others around the world.

Odissi in Popular & Mainstream Culture[link]

In Guinness World Records[link]

Guinness World Records - Participation certificate in the largest Odissi dance event

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23^rd of Dec, 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire. ^{[17][18][19][20]}

In India[link]

1993: Dressed in a resplendent orange sanyasin dhoti (probably inspired by the Mayurbhanj Chau costume worn in Shiva Tandava items), renowned bollywood actress Meenakshi Sheshadri danced a tandava item, composed chiefly in Odissi, in the film Damini – Lightning.

1996: Renowned bollywood actress Rekha was seen imparting Odissi dance lessons (Shikhandika pose) to a group of young learners, while Indira Varma was shown learning Odissi steps to the accompaniment of the mardala in Mira Nair's magnum opus film Kama Sutra: A Tale of Love.

2003: Renowned bollywood actress Rani Mukherjee performed a dance at the International Indian Film Academy Awards function dressed in Odissi costume and a number of celebrated Odissi gurus and performers expressed their disapproval for insulting the integrity of the dance and the costume.^[21]

2007: An entire sequence of dance in Odissi costume was featured near the end of the bollywood movie Bhool Bhulaiyaa and was performed by bollywood actress Vidya Balan and Malayalam actor Vineeth.

2009: Bollywood actress Shilpa Shetty, who took Odissi lessons for an India-China joint film venture, The Desire loosely based on the life of Odissi dancer Protima Gauri Bedi.

Outside India[link]

1991: A short (23 second) Odissi dance scene was featured in Michael Jackson's music video of Black or White. The legendary pop-singer and dancer from Sri Lanka named Jamuna, performs some Odissi, too.^[22] Jamuna was a disciple of Odissi exponent Gangadhar Pradhan. ^[23]

1998: Madonna danced along with Odissi dancers live on stage during the 1998 MTV Award ceremony. US-based Odissi performers, Patnaik Sisters, were chosen to choreograph and perform alongside the legendary pop artist.

Further reading[link]

• Odissi : What, Why and How… Evolution, Revival and Technique, by Madhumita Raut. Published by B. R. Rhythms, Delhi, 2007. ISBN 81-88827-10-X.
• Odissi Yaatra: The Journey of Guru Mayadhar Raut, by Aadya Kaktikar (ed. Madhumita Raut). Published by B. R. Rhythms, Delhi, 2010. ISBN 978-81-88827-21-3.
• Odissi Dance, by Dhirendranath Patnaik. Published by Orissa Sangeet Natak Akademi, 1971.
• Odissi - The Dance Divine, by Ranjana Gauhar and Dushyant Parasher. Published by Niyogi Books, 2007. ISBN 81-89738-17-8.
• Odissi, Indian Classical Dance Art: Odisi Nritya, by Sunil Kothari, Avinash Pasricha. Marg Publications, 1990. ISBN 81-85026-13-0.
• Perspectives on Odissi Theatre, by Ramesh Prasad Panigrahi, Orissa Sangeet Natak Akademi. Published by Orissa Sangeet Natak Akademi, 1998.
• Abhinaya-chandrika and Odissi dance, by Maheshwar Mahapatra, Alekha Chandra Sarangi, Sushama Kulshreshthaa, Maya Das. Published by Eastern Book Linkers, 2001. ISBN 81-7854-010-X.
• Rethinking Odissi, by Dinanath Pathy. Published by Harman Pub. House, 2007. ISBN 81-86622-88-8.

See also[link]

• Indian Classical Dance
• Ghungroo
• Odissi music
• Gotipua

References[link]

External links[link]

Wikimedia Commons has media related to: Odissi

• Odissi dance at the Open Directory
• Classical Indian Dance Portal: Odissi Page
• Classical Indian Dance Portal
• Mahari and Gotipua tradition
• History of Odissi
• Costume of Odissi dance
• Historical evidences on Odissi
• Odissi dance jewelry
• Gotipua Dance Gurukul
• Indraadhanush- Odissi Center of Excellence
• Mayadhar Raut School of Odissi Dancing

Sanjukta Panigrahi (24 August 1944 – 24 June 1997) ^[1] was a dancer of India, who was the foremost exponent of Indian classical dance Odissi. Sanjukta was the first Oriya girl to embrace this ancient classical dance at an early age and ensure its grand revival.^[2][3]

In recognition of her contribution to dancing and associated activities, she was honoured with one of India's highest civilian awards the, Padma Shri (1975). She is also recipient of the Sangeet Natak Akademi Award in 1976.

Apart from presenting Odissi performances in different parts of India, Sanjukta Panigrahi has been a part of Government’s cultural delegation to different countries, including to the USA and the Philippines (1969), United Kingdom (1983), Israel, Delphi International Festival in Greece (1989). She has also performed in France for eleven weeks, and participated there in the International Music Festival at Paris.

Early life and background[link]

She was born in Berhampur, Ganjam District, Orissa state, to a traditional Brahmin family of Abhiram Mishra and Shakuntala Mishra ^[4]

When she was a small child, she would start dancing intuitively to any rhythmic sound like the sound of chopping of vegetable or cutting of firewood. Her mother was from Baripada and belonged to a family, which had been patronizing chhau folk dance for long. She recognized the talent in her daughter, and encouraged her despite some initial resistance from Abhiram Misra, Sanjukta's father. The reason for the resistance was the fact that in those days this form of dance was performed generally by temple singing girls, called maharis. Male dancers are called gotipuas. These girls were like devadasis in the temples of south India.

Training[link]

At the initiative of her mother, she started to learning dance from Guru Kelucharan Mohapatra at age 4. She was assessed to be the best child artist by the Bisuba Milan consecutively for three years during 1950-53.

In one of her performances as six-year old girl, she refused to leave the stage and continued to perform energetically even after the time was over. Her mother had to shout at and cajole her to stop dancing. At nine she performed at annual festival of the Children's Little Theatre in Calcutta.^[5]

She bagged the first prize in International Children’s Film Festival in 1952. Encouraged by her success, her parents decided to send her for better dance training, to Kalakshetra at Chennai. There she continued her lessons under the guidance of Rukmini Devi Arundale.

For the next six years of her she stayed there, and eventually graduated with a 'Nrityapraveen' diploma in Bharatnatyam with Kathakali as the second subject. After that, she toured many places in India and abroad, as a member of the 'Kalakshetra Ballet Troupe'.

At the age of 14 she returned to Orissa. The state government of Orissa awarded her a scholarship to learn Kathak from Guru Hazarilal in Bharatiya Vidya Bhavan, Mumbai. However, she left the course and returned to Orissa to concentrate on Odissi.

Career[link]

The initial years were very challenging for the Sanjukta and her husband, more in terms of eking out a living than anything else. Though things turned for the better, when in 1966, her guru Kelucharan Mahapatra was conferred with the Sangeet Natak Akademi Award, and she rendered an Odissi performance during the award ceremony in New Delhi. The audience was enthralled by her performance. She had made her mark at the national level, and from that point she did not look back.

Meanwhile her husband had emerged a fine vocalist, and also started rendering music for her performances. In the coming decades, the Sanjukta-Raghunath duo enthralled the audience, even outlasting the Yamini-Jyothismathi duo, and were jointly awarded the Sangeet Natak Akademi Award in 1976.

Sanjukta later came to be known as Guru Kelucharan Mahapatra's greatest disciple, and they travelled the length and the breath of the India, performing together and popularising the almost lost dance form of Odissi, so much so that today, both are considered equal revivalists of the dance form.^[6]

Dance style[link]

Sanjukta Panigrahi spent some time at the International School of Theatre Anthropology at Bologna, Italy in 1986, 1990 and 1992, teaching short courses and demonstrating Odissi dance to foreign students, further adding to its global popularity.^[7]

Sanjukta's forte was her 'nritta', or pure dance, in which she was outstanding. Her great advantage was her musician husband, whose constant presence helped her finesse her abilities in this genre. In 'abhinaya', connoisseurs and critics were agreed on the fact that she more often than not veered towards jatra and melodrama.

Together with her musician husband, Sanjukta has left behind, a rich repertoire of Odissi Dance, both modern as well as classical, ranging from traditional numbers based on the Jayadeva's Gita Govinda to the padabalies of Surdas, Chaupais from the Ramacharitamanasa of Tulasidas and the songs of Vidyapati and Rabindranath Tagore, with piece-de-resistance being, the innovative 'Yugma-Dwandwa': a short of Jugalbandi between the dancer and the musician in Raga Bageshwari, composed by Pandit Damodar Hota, of Utkal Sangeet Mahavidyalaya, and a disciple of Pandit Omkar Nath Thakur, and the sublime, 'Moksha Mangalam' which in time had become her personal signature, which she used to end her performances, on an ethereal note.^[8]

In the words of noted dance critic, Dr. Sunil Kothari, "Sanjukta gave up Bharatnatyam and devoted her life to Odissi, putting her signature on the form." ^[9]

This section requires expansion.

Later years[link]

She continued to perform in most of the state functions. Her pioneering efforts, she brought forth almost forgotten Odissi style of dancing to an important position in the dance repertory of India.

For four decades, she remained an undisputed leading dancer of Odissi. She died of cancer at the age of 58, on 24 June 1997. Even up to her last years, and while battling death, she exuded grace far beyond her years, and physical being would have allowed.

Personal life[link]

At Kalakshetra, Chennai, she had fallen in love with Raghunath Panigrahi, ten year her senior, and a fine vocalist of Gita Govinda, who left a promising career in film music in Chennai, to provide vocal support in her performances.^[10] When was sixteen, they married and over a period of time had two sons.^[3]

Legacy[link]

Sanjukta left behind many accomplished students, including Dr. Chitra Krishnamurti, director of Nrityalaya (an Odissi school in Potomac) and Joyoti Das a resident of Melbourne, a devout disciple of her in Australia, the artistic director and teacher of Kalamandir School of Indian classical dances, dedicated to maintain the continuum of Sanjukta's Odissi style. Sanjukta Panigrahi is considered an embodiment of Guru Kelucharan Mahapatra's art.

Sanjukta Panigrahi Awards[link]

After her death, her husband Raghunath Panigrahi formed a trust in her name, 'Sanjukta Panigrahi Memorial Trust', in 1999, to promote the cause of Odissi dance. Since 2001, every year on her birth anniversary, the trust has been giving away scholarships to budding dancers, and awards excellence in the field of Odissi dance.^[11][12]

Quotes[link]

• “I had two gurus, each with contradicting views. Rukmini Devi Arundale stressed technique while Guru Kelucharan Mohapatra insisted upon forgetting technique. I was confused. Much later I realized that with dedication and hard work, technique would follow automatically.” As told to a disciple, Joyoti Das.

• "Shakti [. . .] which is neither masculine nor feminine [. . .]. A performer of either sex is always Shakti, energy which creates." ^[13]

Films on Sanjukta Panigrahi[link]

• Encounter With the Gods: Odissi Dance With Sanjukta Panigrahi. 1999 ^[14]

See also[link]

• Indian women in dance

References[link]

• Indra Gupta, India’s 50 Most Illustrious Women New Delhi: Icon Publications, 2003. ISBN 81-88086-19-3

External links[link]

• Jack Anderson, Dance: Sanjukta Panigrahi in The New York Times, October 14, 1984 accessed at July 31, 2006
• Sanjukta Panigrahi Images

Video links

• Sanjukta Panigrahi - Odissi - Ardhanareeshwara Stuti
• Sanjukta Panigrahi - Odissi - Mukhari Pallavi

Sonal Mansingh
Sonal Mansingh performing in New Delhi.
Background information
Birth name	Sonal Pakvasa
Born	(1944-04-30) April 30, 1944 (age 68) Mumbai, British India
Origin	India
Genres	Indian classical music
Occupations	Indian classical dancer, choreographer
Years active	1962–present
Website	www.sonalmansingh.in

Sonal Mansingh (born Apr 30, 1944) is an eminent Indian classical dancer and choreographer of Odissi dancing style; who is also proficient in other Indian classical dancing styles including Bharatnatyam,^[1] Kuchipudi, and Chhau.^[2][3] She was married and divorced to former Indian diplomat Lalit Mansingh.^[4]

Early life and background[link]

Sonal Mansingh was born in Mumbai, second of three children to Arvind and Poornima Pakvasa, a noted social worker from Gujarat and Padma Bhushan winner in 2004. Her grandfather was Mangal Das Pakvasa, a freedom fighter, and one of the first five Governors of India.^[5]

She started learning Manipuri dance at age four, along with her elder sister, from a teacher in Nagpur, then at age seven she started learning Bharatnatyam from various gurus belonging to the Pandanallur school,^[6] including Kumar Jayakar in Bombay ^[7]

She has "Praveen" and "Kovid" degrees in Sanskrit from Bharatiya Vidya Bhavan and B.A. (Hons) degree in German Literature from Elphinstone College, Bombay.

Though, her real training in dance started when at age 18, despite her family's opposition, she went to Bangalore, to learn Bharatanatyam from Prof. U. S. Krishna Rao and Chandrabhaga Devi ^[8] at age 18, abhinaya from Mylapore Gowri Ammal, and later started learning Odissi from Guru Kelucharan Mohapatra in 1965.

Mansingh was first married to former Indian diplomat Lalit Mansingh. Her father-in-law Mayadhar Mansingh introduced her to Kelucharan Mohapatra where she had her training in Odissi.^[9] The couple decided to divorce later.^[4]

Career[link]

Sonal Mansingh dancing career which started in 1962, after her arangetram in Mumbai, and in 1977, she founded, Centre for Indian Classical Dances (CICD) in New Delhi.^[2][10]

Over the years, dance has taken her all over the world ^[11] and brought her many awards, including the Padma Bhushan (1992), Sangeet Natak Akademi Award in 1987 ,^[12] and the Padma Vibhushan, India's the second highest civilian award, in 2003; making her the first woman dancer in India to receive such an honour.^[13] This was followed by Kalidas Samman of Madhya Pradesh Government, in 2006 and on April 21, 2007, she was conferred with Doctor of Science (Honoris Causa) by G.B. Pant University, Uttarakhand at Pantnagar.^[14]

To mark the completion of her 40 years in dancing in 2002, noted Hindi film director, Prakash Jha made a documentary film on her, title Sonal,^[2] which also won the National Film Award for Best Non-Feature Film for the year.^[15]

Choreographies[link]

• Indradhanush
• Manavatta
• Mera Bharat
• Draupadi
• Gita Govinda ^[16]
• Sabras
• Chaturang ^[17]
• Panchkanya
• Devi Durga
• Aatmayan ^[18]
• Samanavaya

Quotes[link]

• "A dancer is not just a dancer. He/She is part of this environment. He/She does not exist in a vacuum. Society and its happenings have an impact on all individuals, especially artists. If an art form does not reflect the existing milieu, it stagnates." ^[19]

• "Radha is a grand image too but she's a personification of love without which there is no creation. In our male-dominated mythology the image of Krishna at the feet of Radha, begging for her love, is most unusual. Gita Govind invokes deep spiritual thoughts, packaged in beautifully written verses". ^[16]

Bibliography[link]

• The Penguin Book of Indian Dance by Sonal Mansingh, Penguin Books Australia. ISBN 0-14-013921-4.
• Classical Dances by Sonal Mansingh, Avinash Pasricha, Varsha Das. 2007, Wisdom Publications. ISBN 81-8328-067-6.
• Draupadi, by Sonal Mansingh; Museum Society of Bombay, 1994.

Further reading[link]

• Sonal Mansingh Contribution to Odissi Dance by Jiwan Pani. 1992, Centre for Indian Classical Dances. ISBN 81-7304-002-8.
• Bharata Natyam: Indian Classical Dance Art, by Sunil Kothari. MARG Publications, 1979. Page 169-170.

See also[link]

• Indian women in dance

References[link]

• India’s 50 Most Illustrious Women (ISBN 81-88086-19-3) by Indra Gupta

External links[link]