ODISSI oldest surviving dance form
Odissi is considered to be one of the oldest surviving dance forms based on archaeological evidence. The traditional dance form of Orissa, it owes its origin to the temple dances of the devadasis (temple dancers). Possibly, the oldest classical dance form in the country, Odissi has been mentioned in inscriptions, depicted on sculptures, in temples like the Brahmeswara and the dancing hall of the Sun Temple at Konark. In the 1950s, the entire dance form was revitalised, thanks to the Abhinaya Chandrika and sculpted dance poses found in temples.
Odissi as we know it today is the result of a long process of reconstruction from various dance traditions of Orissa, for instance the Maharis, the Goti puas and the Bhandanritya traditions. Maharis are the counterparts of the Devadasis of the South. Gotipuas are men who dressed as female dancers and danced like the Maharis.
While the form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath.
Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing movements to express specific moods and emotions.
Source: odissi.itgo.com
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Odissi is considered to be one of the oldest surviving dance forms based on archaeological evidence. The traditional dance form of Orissa, it owes its origin to the temple dances of the devadasis (temple dancers). Possibly, the oldest classical dance form in the country, Odissi has been mentioned in inscriptions, depicted on sculptures, in temples like the Brahmeswara and the dancing hall of the Sun Temple at Konark. In the 1950s, the entire dance form was revitalised, thanks to the Abhinaya Chandrika and sculpted dance poses found in temples.
Odissi as we know it today is the result of a long process of reconstruction from various dance traditions of Orissa, for instance the Maharis, the Goti puas and the Bhandanritya traditions. Maharis are the counterparts of the Devadasis of the South. Gotipuas are men who dressed as female dancers and danced like the Maharis.
While the form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath.
Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing movements to express specific moods and emotions.
Source: odissi.itgo.com
ODISSI
Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.
The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.
Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.
The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.
Source: artindia.net
Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.
The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.
Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.
The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.
Source: artindia.net
MUDRAS – SIGN LANGUAGE – basic alphabet
Pathakam
Mudraakhyam
Katakam 
Musti
Musti
Kartharremukham
Sukathunddam
Kapidhakam
Hamsapaksham
Sikaram
Hamsassyam
Anjaly
Ardhachandram
Mukuram 
Bhramara
Soochikamukam
Pallavam
Thripathaakam
Mrigaseersham
Sarpasirassu
Vardamanakam
Araalam
Oornanabham
Mukulam
Katakaamukham
Sikaram
Hamsassyam
Anjaly
Ardhachandram
Mukuram
Bhramara
Soochikamukam
Pallavam
Thripathaakam
Mrigaseersham
Sarpasirassu
Vardamanakam
Araalam
Oornanabham
Mukulam
Katakaamukham
THE HANDS - SIGN LANGUAGE:
The sign Language used in Kathakali is very important and is called MUDRAS –an ancient sacred sign language that originated in the Hindu temple ritualsthousands of years ago and later adapted into the dramatic language ofKathakali.The Mudras are representative actions; emotional gestures and an actual signlanguage complete with an alphabet and sentence structure.
There are 24 basic Mudras used in Kathakali to tell the story – AsamyuthaMudras – using one hand and Samyutha Mudras – using both hands.
Just as letters of the alphabet become words when put together, these primaryhand shapes only develop into an actual language when put into context, withthe appropriate facial expression and a series of hand, arm and bodymovements.
With various combinations of the basic Mudras over 700 "words" are available tothe actor to tell a story.
THE TRAINING: KATHAKALI
The training of a Kathakali actor begins at an early age when young boys leavetheir homes to dedicate the entire lives to Kathakali.The rigorous training necessary for a Kathakali actor begins at 4.00am with eye and facial exercises followed with body exercises and the learning of the Kathakali plays.
In the monsoon season the actors undergo a daily painful session, whichinvolves body exercises followed by a special oil massage, called Uzichil. This makes the actor supple and physically prepared for the characters that he will eventually have to portray on stage.
There is a saying that summaries the Kathakali acting technique….
"Where the hands move, there the eyes follow,Where the eyes move the mind follows.Where the mind goods, the mood follows where the mood goes, there the Rasa [flavour] arises."
DRUMMERS, SINGERS, MAKE UP ARTISTS AND COSTUMERS all undergo years of specialised training guided by a Guru – Ashan. Eventually they will perform as a complex team of experts each bringing their own specialist contribution to the performance.
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