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Odissi dance may well claim to be the earliest
classical Indian style on the basis of archaeological evidence and
from beautifully illustrated manuscripts and sculptures.
Visiting Orissa for the
first time? The question came from a lady sitting next to me on the
Indian Airlines flight from Delhi to Orissa. “Yes, I am,”
I said. “What is there to see in Orissa?” “There is
nothing there that you should miss.” My companion was a budding
dancer who was returning after a performance in Delhi. I inquired as
to how a layman could distinguish Odissi dance from other classical
dance forms in India. The conversation resulted in a simplified
version of the Odissi dance form…
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.
An Odissi dancer can be
easily identified by the costumes and ornaments she wears – a
nine yard sari woven form indigenous silks (pattasari) usually
in bright colours like orange, red, green. A tight fitting richly
embroidered blouse (komchila), a cover with frills around the
hips (nibibhanda) and a cord with tassels to be tied at the
waist (jhoba).
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.
My travel companion was
not only a talented dancer but also a student of fine arts. She
pointed out that the Odissi dance forms have not only tickled the
imagination of sculptors but also those engaged in other art forms
such as painting, metal and stone carving, filigree work in silver
etc. This is not surprising as the people of Kalinga were equally
fond of art and good living as they were of valour, bravery and
adventure.
FOLK DANCES
What Odissi dance is to
the world of Indian classical dances, Chau is to the world of folk
dances in India. In its most rudimentary form it is described as
phari khanda khela or the game of sword and shield. Unlike
the genealogy of Odissi dance, Chau has an origin shrouded in the
past. But it is a tradition and form that has existed as a way of
life and is nurtured and practiced even today. The Chau dance is a
favourite of the Santhals, Mundas and the Orauns and hence more
commonly seen in Mayurbhanj, Keonjhar and Saraikala areas. Bhairav
is supposed to be the presiding deity of this dance. This may be
because the people in this part of India are the followers of Shiva
and Shakti.
The themes are drawn from
the great epics – the Ramayana and Mahabharata. Krishna and his
gopis are also a favourite subject when dancing Chau with an
element of romance. With the passage of time many more themes have
been incorporated in the Chau dances. But essentially the theme is
woven around love, romance, chivalry and victory of good over evil.
The audience is an inspiration for the artist to perform better. It
comes with the singing of songs, the clapping and the feeling of joie
de vivre so infectiously common at the time of feasting when the
dances are held.
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