Odissi (Odia: ?????? O? i? ), also referred to as Orissi in older literature, is a major ancient Indian classical dance originating from the Hindu temple of Odisha - an eastern Indian coastal state. Odissi, in its history, performed mainly by women, and revealed religious stories and spiritual ideas, especially from Vaishnavism (Vishnu as Jagannath). Odissi's appearance has also revealed ideas from other traditions such as those associated with the Hindu gods Shiwa and Surya, as well as the Hindu goddess (Shaktism).
The theoretical foundation of Odissi's traces to the ancient Sanskrit texts of Natya Shastra, his ancient existence, is evidenced by the dance posing on the statue of the Hindu temple Odissi, and the archaeological site associated with Hinduism, Buddhism and Jainism. The tradition of Odissi dance declined during the era of Islamic rule, and was suppressed under the British Government. The persecution was protested by the Indians, followed by the resurrection, reconstruction, and extension since India gained independence from the colonial government.
Odissi is traditionally a genre of dance-drama performing arts, where artists and musicians play mythical stories, spiritual messages or reflective poems of Hindu texts, using symbolic costumes, body movements, abhinaya (expression) and mudras (gestures and sign language) defined in ancient Sanskrit literature. Odissi is studied and performed as a composite of a basic dance motif called Bhangas (symmetrical body arches, horses). It involves the low (footwork), mid (torso) and upper (hand and head) as three sources of expression enhancement and audience involvement with geometric symmetry and rhythmic music resonance. An Odissi performance repertoire includes prayer, nithea (pure dance), nritya (expressive dance), natya (dance drama ) and moksha (a climactic dance which means freedom of soul and spiritual liberation).
Traditional Odyssies exist in two main styles, first perfected by women and focused on a sacred temple dance ( maharis ); the latter being perfected by the diversified daisies ( gotipuas ) boys to include athletic and acrobatic movements, and performed from celebration events at temples for simple common entertainment. Modern Odissi production by Indian artists has presented a variety of experimental ideas, cultural blend, themes and drama.
Video Odissi
Histori
The foundations of Odissi are found in Natya Shastra , the script of the ancient Hindu Sanskrit performing arts. The basic dance unit described in Natyashastra , is 108, identical to that of Odissi.
Natya Shastra is associated with the ancient Bharata Muni scholar, and his first complete compilation dates between 200 BC and 200 CE, but estimates vary between 500 BC and 500 CE. The most learned version of the Natya Shastra text consists of about 6000 verses that are structured into 36 chapters. The text, declared Natalia Lidova, describes the theory of T? ava dance (Shiva), flavor theory, bh? Va, expression, gestures, acting techniques, basic steps, standing postures - all of which are part of the classical Indian Dance. The art of dance and performances, declaring this ancient text, is a form of expression of spiritual ideas, virtues and essence of scripture. The Natya Shastra refers to the four vrittis (expressive delivery methods) in the mode - Avanti , Dakshinatya , Panchali and < i> Odra-Magadhi ; this, Odra refers to Odisha.
Evidence of more direct dance and music history as an ancient performing arts is found on archaeological sites such as caves and in the carvings of Bhubaneswar, Konarak, and Puri temples. The Manchapuri Cave in Udayagiri shows the carvings of dances and musicians, and this has been dated to the time of King Jain Kharavela in the first or second century BC. The Hathigumpha inscription, also derived from the same ruler, mentions music and dance:
(he [king]) is experienced in the science of Gandharvas (ie, music), entertaining the capital by exhibition dapa , dancing, singing and instrumental music and causing party and harmony (samajas)...
- Prasasti Hathigumpha, Jalur 5 , ~ abad ke-2 SM
Odisha's musical tradition also has ancient roots. Archaeologists have reported the discovery of 20-key, carefully polished basaltic lithophone shaped in Sankarjang, the Odisha plateau, dated around 1000 BC.
Medieval Era
Buddhist, Jain and Hindu archaeological sites in the state of Odisha, in particular the Assia hills show the inscriptions and dance engravings dating from the 6th to 9th centuries. Important places include Ranigumpha at Udaygiri, and various caves and temples on the Lalitgiri site , Ratnagiri and Alatgiri. Buddhist icons, for example, are depicted as gods and goddesses of dancing, with Haruka, Vajravarahi, and Marichi in a posture similar to Odissi. The historical evidence, stating Alexandra Carter, suggests that Odissi Maharis (Hindu temple dancer) and dance architecture ( nata-mandap ) are in fashion at least by the 9th century.
According to Kapila Vatsyayan, Kalpasutra Jainism, in its manuscripts found in Gujarat, includes classical Indian dance poses - such as Samapada , Tribhangi and Chuaka from Odissi. This, Vatsyayan says, suggests that Odissi is admired or least known in the far part of India, away from Odisha in the medieval era, to be incorporated into important Jain text margins. However, the Jain script uses the dance as a decorative art on the periphery and cover, but does not describe or discuss dance. Hindu dance texts such as Abiinaya Chandrika and Abhinaya Darpana provide a detailed explanation of the movement of the feet, hands, standing postures, movements and repertoires of dance. This includes the illustrations of KaranÃÆ'Â s mentioned in NÃÆ' Â £ tyaShÃÆ'Â £ stra . Similarly, Hindu texts illustrated in the architecture of the temple of Odisha, ShilpaprakÃÆ'Â sha , relate to the architecture and sculpture of Odia, and include the posture of Odissi.
The actual sculptures that survived the modern era and relief panels in the Odia temple, dating from the 10th to 14th centuries, feature the Odissi dance. This is evidenced in the temple of Jagannath in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and the Vedic god like Surya (Sun) in Odisha. There are several statues of dancers and musicians at Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
The composition of the poetic texts by the 8th century Shankaracharya and especially the divine love inspired Gitagovinda in the 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi is performed at the temple by dancers called Maharis , who play the spiritual poetry and underlying religious drama, after training and perfecting their dance art from an early age, and being honored as luck to religious service.
Mughal and English rule period
After the 12th century, Odia temples, monasteries, and nearby institutions like Nalanda in the eastern Indian continent came under a wave of attacks and raids by Muslim armies, a turmoil that affected all art and eroded the freedoms previously enjoyed by performing artists. Official records of the invasion of Sultan Firuz Shah Tughlaq in Odisha (1360-1361 CE), for example, illustrate the destruction of Jagannath temples and a number of other temples, littering dance statues, and destructive dance halls. This led to a widespread decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported the arts mainly through court performances. During the Sultanate and Mughal era in India, temple dancers were moved to entertain the family and court of the Sultan. They became associated with concubinage to the nobility.
The Odissi dance was probably widespread in the 17th century, says Alexandra Carter, under the patronage of King Ramachandradeva. This integrated martial art integration ( akhanda ) and athletics into the Odissi dance, involving boys and youths called Gotipuas , as a means to train young people physically to military and to fight foreign invasions. According to Ragini Devi, historical evidence shows that the Gotipuas tradition was known and maintained in the 14th century, by King Khurda.
During British rule, colonial government officials mocked temple traditions, while Christian missionaries launched a sustained assault on the moral rage of Odissi's sensuality and other Hindu temple dance art. In 1872, a British civilian named William Hunter watched a show at the Jagannath temple in Puri, then wrote, "The indecent ceremony embarrasses the ritual, and the girls dance with spinning eyes putting the devotee into blush...", and then attack they were idolatrous prostitutes who expressed their devotion to the "gyrasi of the field".
Christian missionaries launched the "anti-dance movement" in 1892, to ban all such forms of dance. The dancers were inhuman and stigmatized as prostitutes during the British period. In 1910, the British colonial government in India banned the dance of the temple, and the dance artists were reduced to the poor from the lack of financial support for the performing arts, combined with stereotypical stigma.
Post-independence
The prohibition of temple dance and cultural discrimination during the colonial administration mobilized the movement by Hindus to question stereotypes and revive Indian art, including Odissi. Because of these efforts, classical Indian dances witnessed a period of awakening and reconstruction, which gained momentum especially after the Indians gained freedom from colonialism.
Odissi, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, especially by Kavichandra Kalicharan Pattanayak, a poet, playwright and Oriya researcher. Pattanayak is also credited with naming the dance form as "Odissi".
Maps Odissi
Repertoire
Odissi, in the classical and medieval period has, a dance team founded on Hindu texts. This drama involves a woman ( Maharis ) enacting a spiritual poem or religious story either in a sacred place in a Hindu temple, or in Natamandira attached to the temple. The Odissi performs Maharis combines pure dance with expression, to play out and communicate the underlying text through abhinaya (movement). The performing arts evolved to include another aspect, in which boy teams - dressed as women - called Gotipuas expanded the Odissi repertoire, such as by adding acrobatic and athletic movements, and they did both near the temple and opened exhibition for simple simple entertainment. In the Indian tradition, many succeeded as teachers in their adulthood. Modern Odissi is a diverse performing arts, men have joined women, and reconstruction since the 1950s has added drama and new aspects of other Indian dances.
Love is a universal theme and one of the paradigmatic values ​​in Indian religions. This theme is expressed through sensual love poetry and the metaphor of sexual union in the Krishna-related literature, and as eros longing ( Shringara ) in the dance arts as in Odissi, from the earliest days. Hinduism, says Judith Hanna, encourages artists to "seek to suggest, express or recreate an infinite and divine self," and art is considered "the ultimate means of realizing the Universal Being". Physical intimacy is not something that is considered a reason for shame, but is considered a form of celebration and worship, where the saint is a lover and a beloved is a saint. This aspect of the Odissi dance has been conquered in modern post-colonial reconstruction, says Alexandra Carter, and the emphasis has expanded to "the expression of personal artistic excellence as a ritualized spiritual articulation."
Traditional Odissi repertoires, like all classical Indian dances, include Nritta (pure dance, solo), Nritya (dancing with emotion, solo) and > Natya (Dramatic dance, group). The three aspects of Odissi's performance are described and illustrated in the basic Hindu texts, in particular the Natya Shastra , Abhinaya Darpana and the 16th Century Abhinaya Chandrika > by Maheshwar Mahapatra from Odisha.
- The performance Nritta is an abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Nritta, where the emphasis is beauty in movement, shape, speed, range and pattern. Part of this repertoire has no interpretive aspect, it does not tell the story. It is a technical performance, and aims to engage the senses (prakrti) of the audience.
- The Nritya is a slower and expressive dance aspect that tries to communicate feelings, storylines especially with a spiritual theme in the Hindu dance tradition. In nritya , the acting-dance expands to include the expression of silent words through the gesture and motion language that is set to musical notes. Part of this repertoire is more than sensual pleasures, it aims to engage the audience's emotions and minds.
- The Natyam is a game, usually a team performance, but can be performed by a soloist in which a dancer uses certain standard body movements to show a new character in the underlying story. A Natya combines elements from Nritya .
- The Mokshya is a pure dance of Odissi climate, which aims to highlight the liberation of soul and tranquility in the spiritual.
Odissi dance can be accompanied by the music of northern India (Hindustani) and southern India (Carnatic), although primarily, the recital is in Odia and Sanskrit language in the tradition of Odissi Music.
Order
The sequence of traditional Odissi repertoire begins with a prayer called Mangalacharana . A shloka (hymn) in praise from God or Goddess is sung, such as Jagannath (avatar of Vishnu), meaning expressed through dance. Mangalacharan followed by Pushpanjali (offerings of flowers) and Bhumi Pranam (greetings to motherland). The prayer also includes Trikhandi Pranam or three-fold greetings - for Devas (gods), for the Teachers (teachers) and to Lokas or Rasikas (fellow dancers and spectators).
Next sequential steps in the Odissi show are Stone , also known as Battu Nrutya or Sthayee Nrutya or Batuka Bhairava . This is a quick step, pure dance ( nritta ) done to respect Shiva. There is no song or reading accompanying part of this dance, only rhythmic music. This pure dance sequence in Odissi builds up to Pallavi's often slow, graceful & eye lashes, neck, chest & amp; legs & amp; slowly building crescendo to the climax in quick tempo at the end.
The nritya follows next, and consists of Abhinaya , or an expressive dance which is the application of a song or poem. The dancer (s) communicates the story in sign language, using mudras (hand gestures), bhavas (enforcing moods, emotions), eyes and body movements. The dance is fluid, elegant and sensual. Abhinaya in Odissi is performed for verses that are recited in Sanskrit or Odia. The most common are Abhinayas on Oriya's or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations from Lord Vishnu) or Ardhanari Stotram (half-human form, half woman of the divine). Many of the Abhinaya compositions performed in the region are based on the Radha-Krishna theme. Astapadis from the love poems of Radha-Krishna Gita Govinda written by Jayadeva are usually shown in Odisha, as part of the dance repertoire.
The natya section, or the dance drama, is the next sequence. Usually Hindu mythology, epics and legendary drama are chosen as themes.
A peculiar part of the Odissi tradition is the inclusion of the final Moksha (or Mokshya ) in a performance sequence. It's the closing item of the recital. Moksha in the Hindu tradition means "spiritual liberation". This dance movement has traditionally tried to convey a sense of spiritual release and liberation of the soul, soaring into a pure aesthetic world. Movements and poses join in the fast-paced dance climax.
Basic and mudra movements
Odissi's base unit is called bhangas . It consists of eight belis , or body position and movement, combined in many variations. Motion is uthas (up or up), baithas (sitting or down) or sthankas (standing). Gaits or movements on the dance floor are called chaalis , with the tempo of motion associated with emotion according to classical Sanskrit text. So, for example, burhas or fast speed shows excitement, while a slow, confusing speed indicates rejection. For aesthetics, the movement is centered on the core, the point in space or floor, and each dancer has its imaginary space, with its rounds and expression. The foot movement or on bhedas also has a basic dance unit, and Odissi has six of them, in contrast to the four found in most classical Indian dances.
The three main dance positions at Odissi are:
- Samabhanga - a square position, with the same weight placed on two legs, the spine straight, arms raised with elbows bent.
- Abhanga - body weight shifts from side to side, due to the deep leg curve, while the legs and knees are turned out, and one hip extends sideways.
- Tribhanga - is a curve of three folds of S-shaped body, with the body turning in one direction while the head and hips turn in the opposite direction of the body. Furthermore, the hands and feet frame the body into a combination of two squares (rectangles), providing a reference aesthetic framework. It is described in ancient Sanskrit texts, and its forms are found in other Hindu dance arts, but the tribhanga's postures develop most profoundly and distinctively for Odissi, and they are found in the reliefs of the historic Hindu temples.
Mudras or Hastas is a hand gesture used to express the meaning of a given action. Like all classical Indian dances, Odissi's goal is to convey the emotions, moods, and feelings in the story with the right hand and face movements. There are 63 Hastas in the modern Odissi dance, and this has the same name or structure as the one in Hindu pan-India texts, but best suits them in Abhinaya Chandrika . It is divided into three, according to traditional texts:
- Asamyukta Hasta - Single hand Mudra - 28 Prakar (movement, for example to deliver salute, prayer, hug, energy, bond, swing, train, shell, arrow, holding object, wheel, etc.)
- Samyukta Hasta - Double hand Mudra - 24 Prakar (movement, for example to show flags, flowers, bird or animal species, moon, acts like grasping, etc.)
- Nrutya Hasta - "Pure Dance" Mudras
The Mudra system is derived from "Abhinaya Darpana" by Nandikeshavara and the ancient Natya Shastra of Bharata Muni.
Costume
Odissi dancers dressed in color with makeup and jewelry. The saree worn by the Odissi dancers is brightly colored, and usually from the local sutra ( Pattasari ). It is worn with creases, or may have a tailor seam in front, to allow maximum flexibility during footwork. This Saree has a traditional Odisha mold with the design and decoration of the area, and perhaps Sambalpuri Saree and Bomkai Saree.
Jewelry includes silver pieces, preferred metal in regional traditions. Hair tied, and usually pulled into a complicated bun resembles a Hindu temple tower, and decorated with Seenthi . Their hair style may contain a white moon flower symbol, or a bamboo crown called Mukoot with peacock feathers (symbolism for Lord Krishna). The dancer's forehead is marked with Tikka , and is decorated with a variety of jewelry such as Allaka (cut off the head where tikka hangs). Eye rings with Kajal (black eyeliner).
The ear cover called Kapa or the ear ring adorns the side of the head, while the necklaces decorate the neck. Dancers wear a pair of armrests that are also called Bahichudi or Bajuband , in the upper arm. The wrist is covered with Kankana (bracelet). At their waist they wear a complex belt that binds one end of Sari. The ankle is decorated with a piece of leather on top of the bells ( ghungroo ). The palms of the hands and palms can be painted with red colored dye called Alta .
The modern Odissi male player wore a dhoti - a wide cloth tied to the waist, pleated for movement, and tucked between the legs; usually extending to the knee or lower. The upper body is bare-chested, and thin sheets are folded long thin over one shoulder and are usually tucked under a wide belt.
Music and instruments
Odissi is a musician from Odissi. The Odissi ragas utama adalah Kalyana , Nata , Shree Gowda , Baradi , Panchama , Dhanashri , Karnata , Bhairavee dan Shokabaradi .
Dance of Odissi, Ragini Devi states, is a form of "visualized music", in which Ragas and Raginis , each of the primary and secondary musical modes, is integrated by the musicians and interpreted through dancer. Each tone is a means, purposeful and with a mood in classical Indian music, which Odissi accompanies to express sentiment in a song through Parija . This is true whether the show is formal, or less formal as in Nartana and Natangi used during festive occasions and simple life celebrations.
Characteristic of Odissi is that it includes North and South India Ragas , which in the 20th century has been classified as Hindustani and Carnatic music. According to Alessandra Royo, Odissi music integrates music styles from two Indian music concert traditions, and lacks a separate systematic classification as found in North and South Indian traditions. According to Emmie Nijenhuis, Odissi's music shows the performing arts and ideas exchanged between North and South India during the Medieval era, and Odissi accepts both as a creative container of style and idea.
Guru Ramahari Das, a leading researcher and player in Odissi music fought this wrong assumption. He stated, "Odissi's music is much more lyrical than Hindustani or Carnatic, just like these two forms, it has its distinctive nuance, its unique identity." Pandit Damodar Hota also explicitly states the uniqueness of the music of Odissi thus, "Like the Saraswati River forming" triveni "along with Ganga and Yamuna, Odissi is a different musical genre such as Carnatic and Hindustani.is evolved from the ritualistic music of Jagannath temple in Puri, and the 12th century the saint-poet Jayadeva is a prominent practitioner. "Many scholars systematically opposed Odissi's idea as a mixture of two other styles mentioned in the 20th century. Master Dheeraj Mahapatra in his paper Unique Features of Odissi Music: An Overview mentions characteristics that can be called 'classical' music and how Odissi music meets these criteria while building its distinctive nature.
An Odissi entourage came with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as Mardala (drum barrels), harmonium, flute, sitar, violin, cymbals held by fingers and others.
Style
The Odissi tradition is in three schools: Mahari, Nartaki , and Gotipua :
- Mahari are the Oriya devadasis or temple girl, their name comes from Maha (great) and Nari Mahri (selected) especially those at the Jagganath temple in Puri. Early Maharan performed Nritta (pure dance) and Abhinaya (poetry interpretation) dedicated to various Hindu deities and goddesses, as well as Puranic myths and Vedic legends. Later, the Maharani specifically performed a dance network based on the lyrics of Jayadev Gita Govinda . This style is more sensual and closer to the classic Sanskrit text in dance art, music and performing arts.
- Gotipuas is a boy dressed like a girl and teaches a dance by Maharis. This style includes martial arts, athletics, and acrobatics. Gotipuas danced into these compositions outside temples and exhibition grounds for simple entertainment.
- Nartaki dancing takes place in royal palaces, where it is prevalent before the British period.
School, training, and introduction
Odyssi maestro and performer
Kelapataran Mohapatra, Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four great teachers who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi is a prominent student of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other students from Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were known for their performances in India and abroad. Laximipriya Mohapatra performed a piece of Odyssi abhinaya at Annapurna Theater at Cuttack in 1948, a show that was established as the first classical Odissi dance performance after its contemporary revival. Guru Mayadhar Raut plays an important role in giving his classic status to the Odissi dance. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance item, and described the Shringara Rasa in Gita Govinda Ashthapadis . His famous compositions include Pashyati Dishi Dishi and Priya Charu Shile , compiled in 1961.
IIT Bhubaneswar
Odissi has been included in the Indian Institute of Technology Bhubaneswar's BTech syllabus since 2015 as the first national technical institute of India to introduce classical dance in the syllabus.
In the Guinness World note
Guinness World Records has acknowledged the greatest congregational achievements of the Odyssi congregation in one event. 555 dancers Odissi perform at the event held on December 23, 2011, at the stadium Kalinga, Bhubaneswar, Odisha. The dancers played the dance items of Mangalacharan, Battu, Pallavi, Abhinay and Mokshya from Odissi's repertoire.
More than 1000 dancers of Odissi perform at World Cultural Festival March 12, 2016. This is the biggest congregation date of Odissi dancers in one event.
Odyssi Center at Oxford University
The Odissi dance center has been open since January 2016, at Oxford University. Known as the Oxford Odissi Center, this is an initiative of the Odissi dancer and choreographer, Baisali Mohanty who is also a graduate degree at Oxford University.
Source of the article : Wikipedia
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