ODISSI

This dance form depicts about:

• Ambience of Odisha
• Philosophy of Lord
Jagannath Puri
Pravittis – Avanthee, Dakshinaataya, Panchalee
Odhramaagadhee
• Odissi has a history of over 2000 years.
• This is proved by these evidences having the different sculptures of
Odissi:
• Hathigumpha caves in Udayagiri-2 nd century in the regime of King
Karavela
• Ranigumpha caves
• Brahmeshwara temple – Sculpture of Queen Kolavathi devi who is
a patron of this dance.

Ranigumpha cave Hathigumpha cave Brahmeshwara temple

Maharis were the epitomes of feminine beauty and grace
empowered with great skills in dance and music

Maharis

This was introduced

by
Bheethargaanis: King Kapilendradeva Bahargaanis:
Performed for the Performed for
pleasure of the the pleasure
Lord in the of the people
sanctum sanctorum outside the
during Bhog or temple
Shayanotsav ritual There were two main fares :
of the God. Chandana jaathra
Joolan jaathra
 PATRONS
• King Kapilendra deva was instrumentive in making
the performance of Jayadeva Ashtapadi compulsory in
Puri. Poets :
Sri Jayadeva Kavi’s Evergreen
• King Kapilendra deva Gitagovindam. Poet Jayadeva was the
court poet of King Lakshmanasena of
son
Ganga dynasty. Maheshwara
Purushottamaa Mohopatra , contemporary poet of
Jayadeva wrote Abhinaya Chandrika
Married to
that stands as a solid base for the
Roopambika study of Odissi dance form.
son
Prataparudradeva
 KINGS
• Orissa was ruled by Kesari and Ganga dynasties.
• King Nrityakesari – profound in dance
• King Gandharvakesari – profound in music
• King Chodaganadeva – pioneer in construction of the
shrine of Lord Jagannath Temple and also appointed
Maharis.
• King Ananthabheemadeva – built many halls in the
Lord Jagannath Temple
 New beginning of Odissi
• In the 16th Century the English took over the state of
Odisha lost its art-form and identity
• Odissi was in the verge of being extinct with a topsy-
turvy-turmoil in the social and religious lives of
people.
• During the regime of King Ramachandradeva, small
boys called Gotipuas started dancing vibrantly with
striking poes and acrobatics.
MODE OF LEARNING ODISSI DANCE
• Nandikeshwara’s Abhinayadarpana ; Bharatha’s
Natyashastra ; Maheshwara Mohopatra’s
Abhinayachandrika
• Static and the first posture is Chouka bhangi
Next is karna or Tani stage –
Basic foot work(adavus)

Tribhangi pose slight bending of head,

neck waist regions.
There are many bandhas which are beautiful
blends of sthanaka, karna and bhangis.
 Margam of Odissi dance form
• Bhoomi pranam
• Vighnarajavandanam
• Batu nritya
• Praises of Lord Shiva
• Ishtadevatandavam
• Svarapallavi
• Sabhinay – contains compositons of Jayadeva ashtapadi,
Chaitanya Mahaprabhu, Banamalidas, Vidyapathi,etc.
• Tharijam
• Moksh
 Accompaniments and costumes
• Blend of Hindustani and Carnatic music.
• Instruments used are dholak, flute and small cymbals called
Ghanis. Now-a-days, Sitar and Violins are also used.
• They adorn themselves with silver jewellery
• The costumes has the Pochampalli print and a bright
coloured blouse.
• Head gear of Jasmine flowers and knot of hair called
Kosha.
• Kalichitha ,Pathrabali and Vaishnava mudras are used to
decorate the forehead
 Legends of Odissi dance form
• Guru Kelucharan Mohapatra
• Devaprasad Das
• Dheerendra Patnayak

Pochampali print Jewels

Kosha Jasmine
flowers
Thank You So Much Ma’am For Giving
Me This Opportunity
• THIS WAS ALL ABOUT THE ODISSI
DANCE FORM….HOPE YOU ALL LIKED
IT.. HAVE A GREAT DAY AHEAD.