Guru Kelucharan Mohapatra
Guru Kelucharan Mahapatra is a master and a legend in his chosen field, with a name now synonymous with Orissi dance throughout the world. Born in a family of citrakaras or painters, he paints a dancer on to her background.
Born in Raghurajpur on August 1, 1925, young Kelucharan loved the jatras, open air roving theatres of Orissa. His father, a khola (drum) player in these theatres, instilled in him the love of rhythm. The sound of the drums, in harmony with the universe around him, the stars, the fields, the land of Orissa fascinated the child. He also watched closely and imitated the akhadapilas (boys of the gymnasia) as they danced, and he drummed out the rhythm of the mardala on the sides of his buttocks. Painting (the frozen images), rhythm, and movement were to remain the hallmarks of his creations.
Unable to dissuade Kelucharan from indulging in the effeminate art of gotipua dancing, his father allowed him to train under Balabhadra Sahu and finally abandoned him to Guru Sri Mohan Sundar Goswami and his Rasa party. The surrogate father was to become the model in Kelucharan's later relationship with his own students. At the theatre party, Kelucharan learnt not only the arts of acting, singing, and dancing, but also stagecraft, make-up, and choreography. Above all, he trained in both the mardala and the tabla under masters. The theatre group toured six to seven months of the year and rehearsed the remaining months.
When the boy finally left the Rasa theatre party after twelve years, he eked out a living by rolling bidis (indigenous cigarettes), watering betel groves, and carrying sand. Life was eased when he joined Kavichandra Kali Chandra Pattnaik's Annapurna Theatre in Cuttack and earned Rs.7 a month setting the stage, acting occasionally and playing percussion, under Harihar Rao. He trained in khola from Agadhu Moharana and in tabla from Kshetramohan Kar and Harihar Rao. He also learnt Uday Shankar's dance techniques and the use of hand gestures from Guru Dayal Saran.
Life continued evenly for the young man and the dance of Orissa until the major breakthrough with the staging of Vasmasura, created by Guru Pankaj Charan Das. As Siva, Kelucharan was an instant hit. After a few more dance dramas, the young dancer left with Laxmi Priya for Puri, trained and researched some more, to return to Cuttack at the age of 30 as a dance teacher at Kala Vikash Kendra. He remained there for fifteen years, laying the foundation of what is now known as Orissi dance.
With the Sangeet Natak Akademi award in 1966, the title of Padmashree in January 1972, honorary doctorate in January 1982, the Padma Bhushan and the Kalidas Samman in 1989, Kelucharan was finally on the road to fame, from rolling bidis to becoming a legend in his own time, at home and abroad. The most prolific choreographer, Guru Kelucharan worked on some of his masterpieces with Pandit Bhubaneswar Misra as his music composer. The demands for his dances also led to the establishment of training centres in Delhi, Calcutta, and Bombay.
Orissi has come into its own, and it is the guru's job now to translate his movements to paper at the Orissi Research Wing. The Odissi Path Finder has already been published, both in Oriya and in English. His art has come full circle, and often the visual artist in him takes over, transforming the notations into works of art, sometimes to the frustration of his one-time student, now boss, Dr. Kumkum Mohanty.
His primary claim to fame in dance creation lies in his pallavis (flowering of Orissi). The unfolding of the dance through the coming to life of the sculptures in various ragas (melodic moods) with intricate rhythmical patterns is remarkable. He has created pallavis for each of his dance students like a master artist flirting with his artistic creation. Kumkum Mohanty recalls the guru and Pandit Bhubaneswar Misra "in days gone by" working late into the night at her father's house creating pallavis with Kelucharan composing rhythm patterns on the mardala and Pandit Misra composing music on the harmonium (similar to an accordion). Her job she recalls was to remember the compositions so that they would not have to start from scratch the next night. She served as their human tape recorder. The team worked miracles with subjects like Sanjukta and Kumkum. Today the creations have become even more complex and long.
The doyen of Odissi, Guru Kelucharan Mohapatra was born on January 8, 1926 in Raghurajpur, Orissa. Kelucharan was a precocious child, he learnt to paint, sculpt and play the Khol drum at a very early age. He joined Gotipua troupes and folk theater groups when he was just nine.
He was totally immersed in Odissi. He resurrected odissi when it was at the verge of extinction. In 1994 he set up an organisation, 'Srjan' to impart training to students in Odissi dance. Many famous classical dancers such as Sanjukta Panigrahi, Kukum Mohanty, Sonal Mansingh, Priyambada Mohanty, Minati Mishra and Bhartanatyam dancer Yamini Krishamurthy are disciples of guru Kelucharan Mohapatra.
For his enormous contribution to Odissi, Kelucharan Mohapatra received many awards including Sangeet Natak Akademi award, 1966; Padma Shri, 1972; Padma Bhushan,1989; Padma Vibhushan, 2000; and Kalidas Samman from Madhya Pradesh government. To honor him the Guru Kelucharan Mohapatra award was instituted in 1995. This annual award is given for the contribution in the field of art.
This Odissi exponent passed away on April 7, 2004 in Bhubaneshwar, Orissa, leaving behind a league of Odissi dancers to continue the work started by him.
Guru Kelucharan Mahapatra is a master and a legend in his chosen field, with a name now synonymous with Orissi dance throughout the world. Born in a family of citrakaras or painters, he paints a dancer on to her background.Born in Raghurajpur on August 1, 1925, young Kelucharan loved the jatras, open air roving theatres of Orissa. His father, a khola (drum) player in these theatres, instilled in him the love of rhythm. The sound of the drums, in harmony with the universe around him, the stars, the fields, the land of Orissa fascinated the child. He also watched closely and imitated the akhadapilas (boys of the gymnasia) as they danced, and he drummed out the rhythm of the mardala on the sides of his buttocks. Painting (the frozen images), rhythm, and movement were to remain the hallmarks of his creations.
Unable to dissuade Kelucharan from indulging in the effeminate art of gotipua dancing, his father allowed him to train under Balabhadra Sahu and finally abandoned him to Guru Sri Mohan Sundar Goswami and his Rasa party. The surrogate father was to become the model in Kelucharan's later relationship with his own students. At the theatre party, Kelucharan learnt not only the arts of acting, singing, and dancing, but also stagecraft, make-up, and choreography. Above all, he trained in both the mardala and the tabla under masters. The theatre group toured six to seven months of the year and rehearsed the remaining months.
When the boy finally left the Rasa theatre party after twelve years, he eked out a living by rolling bidis (indigenous cigarettes), watering betel groves, and carrying sand. Life was eased when he joined Kavichandra Kali Chandra Pattnaik's Annapurna Theatre in Cuttack and earned Rs.7 a month setting the stage, acting occasionally and playing percussion, under Harihar Rao. He trained in khola from Agadhu Moharana and in tabla from Kshetramohan Kar and Harihar Rao. He also learnt Uday Shankar's dance techniques and the use of hand gestures from Guru Dayal Saran.
Life continued evenly for the young man and the dance of Orissa until the major breakthrough with the staging of Vasmasura, created by Guru Pankaj Charan Das. As Siva, Kelucharan was an instant hit. After a few more dance dramas, the young dancer left with Laxmi Priya for Puri, trained and researched some more, to return to Cuttack at the age of 30 as a dance teacher at Kala Vikash Kendra. He remained there for fifteen years, laying the foundation of what is now known as Orissi dance.
With the Sangeet Natak Akademi award in 1966, the title of Padmashree in January 1972, honorary doctorate in January 1982, the Padma Bhushan and the Kalidas Samman in 1989, Kelucharan was finally on the road to fame, from rolling bidis to becoming a legend in his own time, at home and abroad. The most prolific choreographer, Guru Kelucharan worked on some of his masterpieces with Pandit Bhubaneswar Misra as his music composer. The demands for his dances also led to the establishment of training centres in Delhi, Calcutta, and Bombay.
Orissi has come into its own, and it is the guru's job now to translate his movements to paper at the Orissi Research Wing. The Odissi Path Finder has already been published, both in Oriya and in English. His art has come full circle, and often the visual artist in him takes over, transforming the notations into works of art, sometimes to the frustration of his one-time student, now boss, Dr. Kumkum Mohanty.
His primary claim to fame in dance creation lies in his pallavis (flowering of Orissi). The unfolding of the dance through the coming to life of the sculptures in various ragas (melodic moods) with intricate rhythmical patterns is remarkable. He has created pallavis for each of his dance students like a master artist flirting with his artistic creation. Kumkum Mohanty recalls the guru and Pandit Bhubaneswar Misra "in days gone by" working late into the night at her father's house creating pallavis with Kelucharan composing rhythm patterns on the mardala and Pandit Misra composing music on the harmonium (similar to an accordion). Her job she recalls was to remember the compositions so that they would not have to start from scratch the next night. She served as their human tape recorder. The team worked miracles with subjects like Sanjukta and Kumkum. Today the creations have become even more complex and long.
The doyen of Odissi, Guru Kelucharan Mohapatra was born on January 8, 1926 in Raghurajpur, Orissa. Kelucharan was a precocious child, he learnt to paint, sculpt and play the Khol drum at a very early age. He joined Gotipua troupes and folk theater groups when he was just nine.
He was totally immersed in Odissi. He resurrected odissi when it was at the verge of extinction. In 1994 he set up an organisation, 'Srjan' to impart training to students in Odissi dance. Many famous classical dancers such as Sanjukta Panigrahi, Kukum Mohanty, Sonal Mansingh, Priyambada Mohanty, Minati Mishra and Bhartanatyam dancer Yamini Krishamurthy are disciples of guru Kelucharan Mohapatra.
For his enormous contribution to Odissi, Kelucharan Mohapatra received many awards including Sangeet Natak Akademi award, 1966; Padma Shri, 1972; Padma Bhushan,1989; Padma Vibhushan, 2000; and Kalidas Samman from Madhya Pradesh government. To honor him the Guru Kelucharan Mohapatra award was instituted in 1995. This annual award is given for the contribution in the field of art.
This Odissi exponent passed away on April 7, 2004 in Bhubaneshwar, Orissa, leaving behind a league of Odissi dancers to continue the work started by him.
ODISSI
The Odissi (Orissi) dance is the Indian classical dance from the Eastern state of Odissa. It has a long, yet broken tradition. Although dance in Odissa may be traced back more than 2000 years, it was brought to near extinction during the colonial period. Therefore, modern Odissi dance is a reconstruction.
HISTORY
Like other forms of Indian classical dance, the Odissi style traces its origins back to antiquity. Dancers are found depicted in bas-relief in the hills of Udaygiri (near Bhubaneshwar) dating back to the 1st century BC. The Natya Shastra speaks of the dance from this region and refers to it as Odra-Magadhi.
Over the centuries three schools of Odissi dance developed: Mahari, Nartaki, and Gotipau. The Mahari tradition is the devadasi tradition; this is the use of women who are attached to deities in the temple. The Nartaki tradition is the school of Odissi dance which developed in the royal courts. Gotipau is a style characteristed by the use of young boys dressed up in female clothing to perform female roles.
Odissi dance was held in high esteem before the 17th century. Nobility were known for their patronage of the arts, and it was not unheard of for royalty of both sexes to be accomplished dancers. However, after the 17th century, the social position of dancers began to decline. Dancing girls were considered to be little more than prostitutes, and the "Anti-Nautch" movement of the British brought Odissi dance to near extinction.
Before Independence, the position of Orissi dance was very bad. The tradition of dancing girls at the temple at Puri was abolished. The royal patronage of nartaki had been severely eroded by the absorption of India under the crown. The only viable Odissi tradition was the Gotipau. This had weathered the British Anti-Nautch movement simply because it was danced by males. Yet even the Gotipau tradition was in a very bad state.
Independence brought a major change in official attitudes toward Indian Dance. Like the other classical arts, dance was seen as a way to define India's national identity. Governmental and non-governmental patronage increased. The few remaining Odissi dancers were given employment, and a massive job of reconstructing the Odissi dance began. This reconstruction involved combing through ancient texts, and more importantly, the close examination of dance posses represented in bas-relief in the various temples.
There were a number of people who were responsible for the reconstruction and popularisation of Odissi dance. Most notable are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan Das, Guru Mahadev Rout, Guru Raghu Dutta, and Guru Kelu Charan Mahapatra.
Today Odissi dance is once again deemed a viable and "classical" dance.
STYLE -
There are a number of characteristics of the Odissi dance. The style may be seen as a conglomeration of aesthetic and technical details.
One of the most characteristic features of Odissi dance is the Tribhangi. The concept of Tribhang divides the body into three parts, head, bust, and torso. Any posture which deals with these three elements is called tribhangi. This concept has created the very characteristic poses which are more contorted than found in other classical Indian dances.
The mudras are also important. The term mudra means "stamp" and is a hand position which signifies things. The use of mudras help tell a story in a manner similar to the hula of Hawaii.
THEMES
The themes of Odissi are almost exclusively religious in nature. They most commonly revolve around Krishna. Although the worship of Krishna is found throughout India, there are local themes which are emphasised. The Ashtapadi's of Jayadev are a very common theme.
MUSIC
The musical accompaniment of Odissi dance is essentially the same as the music of Odissa itself. There are various views on how the music of the Odissi relates to the music of greater North India. It is usually considered just another flavour of Hindustani sangeet, however there are some who feel that Odissi should be considered a separate classical system.
There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. One difference is that the right head is a bit smaller than the usual north Indian pakhawaj. This necessitates a technique which in many ways is more like that of the tabla, or mridangam. Other instruments which are commonly used are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.
There was a move to classify Odissi as a separate classical system. This movement is generally considered to have failed for a number of reasons. The general view is that traditional Orissi singers and musicians have been so influenced by Hindustani concepts that they are unable to present the music in its "original" form.
There is a peculiar irony to this movement. Had they succeeded in having Odissi music declared to be a separate system, then it would be hard to justify calling it classical. It would fail to achieve any level, of ethnic transcendence and would essentially be reduced to the level of a "traditional" art form.
MUSICAL INSTRUMENTS USED TO ACCOMPANY ODISSI DANCE
* Pakhawaj
* Bansuri
* Manjira
* Sitar
* Tanpura
Source : chandrakantha.com
The Odissi (Orissi) dance is the Indian classical dance from the Eastern state of Odissa. It has a long, yet broken tradition. Although dance in Odissa may be traced back more than 2000 years, it was brought to near extinction during the colonial period. Therefore, modern Odissi dance is a reconstruction.
HISTORY
Like other forms of Indian classical dance, the Odissi style traces its origins back to antiquity. Dancers are found depicted in bas-relief in the hills of Udaygiri (near Bhubaneshwar) dating back to the 1st century BC. The Natya Shastra speaks of the dance from this region and refers to it as Odra-Magadhi.
Over the centuries three schools of Odissi dance developed: Mahari, Nartaki, and Gotipau. The Mahari tradition is the devadasi tradition; this is the use of women who are attached to deities in the temple. The Nartaki tradition is the school of Odissi dance which developed in the royal courts. Gotipau is a style characteristed by the use of young boys dressed up in female clothing to perform female roles.
Odissi dance was held in high esteem before the 17th century. Nobility were known for their patronage of the arts, and it was not unheard of for royalty of both sexes to be accomplished dancers. However, after the 17th century, the social position of dancers began to decline. Dancing girls were considered to be little more than prostitutes, and the "Anti-Nautch" movement of the British brought Odissi dance to near extinction.
Before Independence, the position of Orissi dance was very bad. The tradition of dancing girls at the temple at Puri was abolished. The royal patronage of nartaki had been severely eroded by the absorption of India under the crown. The only viable Odissi tradition was the Gotipau. This had weathered the British Anti-Nautch movement simply because it was danced by males. Yet even the Gotipau tradition was in a very bad state.
Independence brought a major change in official attitudes toward Indian Dance. Like the other classical arts, dance was seen as a way to define India's national identity. Governmental and non-governmental patronage increased. The few remaining Odissi dancers were given employment, and a massive job of reconstructing the Odissi dance began. This reconstruction involved combing through ancient texts, and more importantly, the close examination of dance posses represented in bas-relief in the various temples.
There were a number of people who were responsible for the reconstruction and popularisation of Odissi dance. Most notable are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan Das, Guru Mahadev Rout, Guru Raghu Dutta, and Guru Kelu Charan Mahapatra.
Today Odissi dance is once again deemed a viable and "classical" dance.
STYLE -There are a number of characteristics of the Odissi dance. The style may be seen as a conglomeration of aesthetic and technical details.
One of the most characteristic features of Odissi dance is the Tribhangi. The concept of Tribhang divides the body into three parts, head, bust, and torso. Any posture which deals with these three elements is called tribhangi. This concept has created the very characteristic poses which are more contorted than found in other classical Indian dances.
The mudras are also important. The term mudra means "stamp" and is a hand position which signifies things. The use of mudras help tell a story in a manner similar to the hula of Hawaii.
THEMES
The themes of Odissi are almost exclusively religious in nature. They most commonly revolve around Krishna. Although the worship of Krishna is found throughout India, there are local themes which are emphasised. The Ashtapadi's of Jayadev are a very common theme.
MUSIC
The musical accompaniment of Odissi dance is essentially the same as the music of Odissa itself. There are various views on how the music of the Odissi relates to the music of greater North India. It is usually considered just another flavour of Hindustani sangeet, however there are some who feel that Odissi should be considered a separate classical system.
There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. One difference is that the right head is a bit smaller than the usual north Indian pakhawaj. This necessitates a technique which in many ways is more like that of the tabla, or mridangam. Other instruments which are commonly used are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.
There was a move to classify Odissi as a separate classical system. This movement is generally considered to have failed for a number of reasons. The general view is that traditional Orissi singers and musicians have been so influenced by Hindustani concepts that they are unable to present the music in its "original" form.
There is a peculiar irony to this movement. Had they succeeded in having Odissi music declared to be a separate system, then it would be hard to justify calling it classical. It would fail to achieve any level, of ethnic transcendence and would essentially be reduced to the level of a "traditional" art form.
MUSICAL INSTRUMENTS USED TO ACCOMPANY ODISSI DANCE
* Pakhawaj
* Bansuri
* Manjira
* Sitar
* Tanpura
Source : chandrakantha.com
Mohiniattam literally means the dance of the enchantress. Born in Kerala
Mohiniattam
Mohiniattam literally means the dance of the enchantress. Born in Kerala, Mohiniattam is the female counterpart of male dominated Kathakali.
One legend says that the princess of Travancore, created and performed this enchanting dance in secret to invoke Lord Padmanabha (Vishnu) to life who she wished as her husband. Another legend is that the women of Kerala who were denied the right to learn Kathakali, created their own dance inspired by Kathakali, yet highly feminine, sensuous. A dance form that makes no sound with its footwork (perhaps to avoid attention).
Kerala, a coastal state, is rich in its landscape with valleys of swaying coconut palms, vast paddy fields and the blue waves of the sea. Mohiniattam literally translates these features into the basic movement language of the dance form, which is marked by circular movements and circular spatial patterns, making the style extremely graceful and sensuous.
Lasya (languid grace) and Sringara (beauty and love) are the essence and the basic mood of Mohiniattam. In Mohiniattam it is compulsory to wear white costumes where as in other dance forms white may be a colour of choice. Traditionally, Mohiniattam is taught, learnt and performed by
women only.
Source : nrityagram.org
Mohiniattam Mohiniattam literally means the dance of the enchantress. Born in Kerala, Mohiniattam is the female counterpart of male dominated Kathakali.
One legend says that the princess of Travancore, created and performed this enchanting dance in secret to invoke Lord Padmanabha (Vishnu) to life who she wished as her husband. Another legend is that the women of Kerala who were denied the right to learn Kathakali, created their own dance inspired by Kathakali, yet highly feminine, sensuous. A dance form that makes no sound with its footwork (perhaps to avoid attention).
Kerala, a coastal state, is rich in its landscape with valleys of swaying coconut palms, vast paddy fields and the blue waves of the sea. Mohiniattam literally translates these features into the basic movement language of the dance form, which is marked by circular movements and circular spatial patterns, making the style extremely graceful and sensuous.
Lasya (languid grace) and Sringara (beauty and love) are the essence and the basic mood of Mohiniattam. In Mohiniattam it is compulsory to wear white costumes where as in other dance forms white may be a colour of choice. Traditionally, Mohiniattam is taught, learnt and performed by
women only.
Source : nrityagram.org
Kathakali
Kathakali, a religious dance-drama tradition, originated in Kerala, in southern India. Kathakali literally means enactment of stories. Traditionally it is a male dominated performing art practiced by the warrior caste. The style evolved in the 17th century from techniques derived from Sanskrit classical text, regional ritualistic folk theatre and traditional art forms that included dance movements, facial expressions, elaborate hand gestures, music, theatre and martial art. The transformation of human actors into the shape and personality of gods, titans and demons of the netherworld is unique to Kathakali making Aharya Abhinaya (enactment of stories, while dressed in the assumed get-up of the mythological characters) the basis of the dance form. The art of Kathakali make-up has profound undertones of feeling and mood associated with it. It is cultivated, not only with great skill and care, but almost as a ritual, so that through this prolonged process, which begins several hours before the performance, the actor will grow into the symbolic character he is to portray through a gradual involvement. The gestural language of Kathakali is a grammatically complete language of hand symbols equivalent to speech. Stylised eye movement is a technique unique to Kathakali. Ayurvedic massage is part and parcel of the Kathakali training and performance tradition.
Source : nrityagram.org
READ MORE
Kathakali, a religious dance-drama tradition, originated in Kerala, in southern India. Kathakali literally means enactment of stories. Traditionally it is a male dominated performing art practiced by the warrior caste. The style evolved in the 17th century from techniques derived from Sanskrit classical text, regional ritualistic folk theatre and traditional art forms that included dance movements, facial expressions, elaborate hand gestures, music, theatre and martial art. The transformation of human actors into the shape and personality of gods, titans and demons of the netherworld is unique to Kathakali making Aharya Abhinaya (enactment of stories, while dressed in the assumed get-up of the mythological characters) the basis of the dance form. The art of Kathakali make-up has profound undertones of feeling and mood associated with it. It is cultivated, not only with great skill and care, but almost as a ritual, so that through this prolonged process, which begins several hours before the performance, the actor will grow into the symbolic character he is to portray through a gradual involvement. The gestural language of Kathakali is a grammatically complete language of hand symbols equivalent to speech. Stylised eye movement is a technique unique to Kathakali. Ayurvedic massage is part and parcel of the Kathakali training and performance tradition.
Source : nrityagram.org
Odissi takes its name from the state of its origin, Orissa
Odissi takes its name from the state of its origin, Orissa. Orissa’s interesting geographical position at the exact centre of the eastern border of India, has influenced its culture and tradition a great deal, thus making its dance and music very unique. Though dance originated in Orissa in the 2nd century BC, it was not until approximately 60 years ago that Odissi, in the form it is seen today, was re-invented, re-vitalised and re-defined. Therefore, Odissi is a synthesis of the ancient and exotic and modern and intellectual. Todays Odissi is sourced from Devadasi or Mahari tradition (a tradition where beautiful young women were consecrated to the Gods. They sang and danced in the sanctum-sanctorum of the temple as a part of the sacred worship), Gotipua Nacha (a tradition that was started, to popularise the Vaishnava philosophy, by dressing up young boys as women who sang and danced the devotional poems of Vaishnava poets), and the endless sculptures in various motifs carved on the temple walls of Orissa.
Odissi is the only dance form to have another basic body position besides the centered ‘Plie’ stance. The second stance Tribhangi, literally meaning three bends and inspired by temple sculptures, is the feminine curvaceous sculptural position with the body weight on one foot. Therefore, Odissi creates an illusion of sculpture coming to life. Isolated torso movements, typical to the Odissi style only, help create these curves and therefore an eternal ‘S’ pattern is formed in the body and space.
Source: nrityagram.org
Odissi takes its name from the state of its origin, Orissa. Orissa’s interesting geographical position at the exact centre of the eastern border of India, has influenced its culture and tradition a great deal, thus making its dance and music very unique. Though dance originated in Orissa in the 2nd century BC, it was not until approximately 60 years ago that Odissi, in the form it is seen today, was re-invented, re-vitalised and re-defined. Therefore, Odissi is a synthesis of the ancient and exotic and modern and intellectual. Todays Odissi is sourced from Devadasi or Mahari tradition (a tradition where beautiful young women were consecrated to the Gods. They sang and danced in the sanctum-sanctorum of the temple as a part of the sacred worship), Gotipua Nacha (a tradition that was started, to popularise the Vaishnava philosophy, by dressing up young boys as women who sang and danced the devotional poems of Vaishnava poets), and the endless sculptures in various motifs carved on the temple walls of Orissa.
Odissi is the only dance form to have another basic body position besides the centered ‘Plie’ stance. The second stance Tribhangi, literally meaning three bends and inspired by temple sculptures, is the feminine curvaceous sculptural position with the body weight on one foot. Therefore, Odissi creates an illusion of sculpture coming to life. Isolated torso movements, typical to the Odissi style only, help create these curves and therefore an eternal ‘S’ pattern is formed in the body and space.
Source: nrityagram.org
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