Odissi Dance
 

In ancient India, the temple was the center of learning culture, religion, and art. In the temple of Lord Jagannath, “Lord of the Universe”, religious rituals, music, and dance were combined together to create the highly sculpturesque and devotional dance style, Odissi.

 

According to archeological evidence, Odissi is one of the oldest Indian dance forms, dating back to the 1st and 2nd century BCE.

 

In the Natya Shastra, an ancient text on music, dance, and drama, Odissi is described as the dance from Odra-Magadhi and Utkal, the traditional names for the region now known as Odisha, in south eastern India. The graceful and flowing movements of this art form have been captured in stone in many temple sculptures throughout Odisha.

 

This devotional dance was an intrinsic part of the temple worship. The devadasis (servants of god/temple dancers), also known as the maharis in Odisha, dedicated themselves to singing and dancing for the pleasure of Lord Jagganath in the inner sanctum of the temple. Later, gotipuas (young boys dressed as girls) performed the same art for religious festivals and fairs outside the temple.

 

The basic postures in Odissi, which portray different deities, are chouka and tribhangi. Tribhangi depicts Lord Krishna's three-fold bending form (neck-torso-knees), and chouka, a square and centered stance, depicts Lord Jagannath, the presiding deity of Odissi dance. By combining these basic postures with intricate torso movements, hand gestures, facial expressions and elaborate footwork, various stories from ancient texts are brought to life.

 

In Odissi as in most other Indian classical dance forms, dance is split into two categories: Nritta and Nritya. Nritta is technical, pure dance with no specific storyline as such. It is often a lyrical composition celebrating a season or a mood. Nritya or Abhinaya is expressional dance where the dancers use movement and expression to narrate a story from Hindu mythology. Most abhinayas in Odissi are based on the Sringara Rasa or the “mood of love” between Lord Krishna, an avatar of Lord Vishnu, the Creator, and his favorite consort Radha. 

 

Today, though Odissi dance has stepped out of the temple into mainstream society, it continues to inspire and awaken beauty and grace in the hearts of artists and spectators alike. In increasing numbers it is brought to life through dedication and devoted work of a growing community of dancers, allowing it to evolve and thrive as it passes from teacher to student, carrying this ancient dance form into the new millennium.

 

NOTE ON THE MUSIC:  All Odissi music is based on north Indian ragas — a pattern of notes having characteristic intervals, rhythms, and embellishments, used as a basis for improvisation. Ragas (from Sanskrit, meaning “color” or “passion”) are usually classified according to such characteristics as mood, emotion, season, and time. A typical Odissi number starts with a short aalap or introductory section followed by the main song that elaborates the raga.

 

All items in this recital have been restaged by Samir Panigrahi and Santosh Ram of Rudrakshya Foundation, India.

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Dance Items

 

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1. Mangalacharan: Ganesh Vandana 

 

Mangalacharan is the opening dance item in the Odissi repertoire, and it serves as an invocation, seeking blessings for an auspicious start. This dance begins with a pushpanjali—an offering of flowers to Lord Jagannath, the deity of Odissi, followed by a prayer to Mother Earth. Tonight’s Mangalacharan invokes Lord Ganesha, calling for divine grace and guidance from the Lord of Beginnings, setting the stage for the evening.

The dancers conclude the Mangalacharan with a Trikhandi Pranam or the three-fold salutation — above the head to the Gods in heaven, in front of the forehead to the Guru, and in front of the chest to the respected audience.

 

Choreography: Padmavibhushan Guru Kelucharan Mahapatra 

Music Composition: Pandit Bhubaneshwar Mishra

Raag: Megh & Kedar                

Taal: Chaturasra Ekatali

Duration: 10:28 mins

Dancers: Sheela Bhongir, Archita Datta, Pulkit Desai, Leia Devadason, Charlette Epifanio, Shailaja Gandam, Deepika Nadella, Archana KRaju, DayJu Ramirez, Aparna Shirotriya, Monali Varaiya, Anwesha Vermaji, Alison Wynn

 

 

 

2. Batu 

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The second item Odissi students usually learn, Batu, a pure dance or nritta item is showcases the essential movements and sinuous aesthetics of Odissi and establishes the core physical grammar of the dance. Dedicated to Lord Shiva in his form as Nataraj, the cosmic dancer, it begins with slow, graceful depictions of dancing musicians playing different instruments, such as the veena (lute), mardala (drum), bansuri (flute), and manjira (cymbals). The dancers move through a series of sculptural poses inspired by temple carvings that depict musicians, dancers, and various celestial figures, interspersed with intricate rhythmic patterns and footwork as the music picks up speed and moves to a crescendo.

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Choreography: Padmavibhushan Guru Kelucharan Mohapatra

Music: Pandit Bhubaneswar Mishra

Raag: Mohana

Taal: Ektali

Duration: 15 mins

Dancers: Shrutakirti Biswas, Archita Datta, Leia Devadason, Charlette Epifanio, Barnali Ghosh, Arleen Gilani, Aria Lotlikar, Charvi Manjunath, Maya Mathias, Deepika Nadella, Saanvi Panda, Malini Ramakrishnan, Mihika Saha, Radhika Vishnoi

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3. Guru Bramha

Guru Bramha, performed by Odissi Vilas’ littlest students, is dedicated to all gurus or teachers. The short verse in this item celebrates the Guru, who is seen as the embodiment of the divine trinity: Brahma, the creator; Vishnu, the preserver; and Maheshwara, the destroyer, and expresses gratitude to the ones who impart wisdom and lead disciples to enlightenment. 

This item showcases the basic building blocks of Odissi dance — various steps in the two key postures, chouka and tribhangi — that all dancers have to start their Odissi journey with, and are expected to continue to practice and perfect throughout their dance career. 

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Choreography: Padmavibhushan Guru Kelucharan Mahapatra 

Music Composition: Pandit Bhubaneshwar Mishra

Raag: Megh & Kedar                

Taal: Chaturasra Ekatali

Duration:  8:46 mins

Dancers: Mira Apte, Mihika Chatterjee, Mishika Chatterjee, Rishita Das, Honneshha Gaddam, Aanya Jha, Medha Mulpuri, Dia Nair, Anaisha Nanda, Kiren Pilania, Raina Pilania, Saisha Rana, Ahana Ray, Amyra Sen, Shanaya Tammannagari, Karna Diya Umeda, Kriti Venkat, Anwesha Vermaji, Veda Vinod

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4. Aravi Pallavi
Aravi Pallavi is another pure dance piece that reflects the lyrical beauty of Odissi. 

The term Pallavi means “blossoming,” and in this piece, the movements and rhythm gradually unfold, mirroring the blossoming of a flower. The item elaborates on the musical raga Aravi, building from slow, graceful movements to a faster tempo. The dancer’s precise footwork and fluid expressions bring the music to life, creating a joyous and dynamic conclusion to the performance.

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Choreography: Padmavibhushan Guru Kelucharan Mahapatra 

Music Composition: Pandit Bhubaneshwar Mishra

Raag: Aravi             

Taal: Chaturasra Ekatali

Duration: 16:20 mins

Dancers: Jenny Dinh, Barnali Ghosh, Aparna Krishnamoorthy, Maureen Nandini Mitra, Gireeja Ranade, Megha Ray, Seema Samantsinhar, Haruko Tanaka, Keerthana Yellapragada

 

 

 

5. Ananda Bhairavi Pallavi

This advanced-level pallavi, performed by Odissi Vilas’ Fall 2024 artists-in-residence, is set to Ananda Bhairavi raga showcases a beautiful tapestry of Odissi rhythm, music and movement. As with all pallavis, the graceful and lyrical movements of the dancers form is supported with intricate rhythm patterns of exceptional beauty, and the pace of the dance gradually picks up and unfolds the particular raga upon which it is based.

 

Choreography: Guru Sri Bichitrananda Swain

Music Composition: Guru Sri Ramahari Das

Duration: 14 mins

Rhythm Composition: Guru Sri Dhaneswar Swain

Dancers: Samir Panigrahi and Santosh Ram of Rudrakshya Foundation

 

 

 

 

BREAK -15 mins

 

 

 

 

5. Kalyan Pallavi 

Kalyan Pallavi, a pure dance item is set to the raga Kalyan, which is known for its uplifting and serene mood. This Pallavi celebrates the joy and vitality of life, allowing the dancer to explore subtle grace and dynamic energy.

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Choreography: Padmavibhushan Guru Kelucharan Mahapatra 

Music Composition: Pandit Bhubaneshwar Mishra

Raag: Kalyani             

Taal: Chaturasra Ekatali

Duration: 8:51 mins

Dancers: Sahana Bilgi, Pulkit Desai, June Dhar, Shailaja Gandam, Anusha Garg, Anika Porwal Kumar, Naga Hasini Muppidi, Tanya Nigam, Malini Ramakrishnan, Gowri Venkatesha Murthy

 

 

 

6. ⁠ARDHANARISWAR

Set to verses written by the 8th century Sanskrit poet, Adi Sankaracharya, this nritta or abhinaya item celebrates Ardhanarishvar (“The half-female Lord”), one of the most iconic forms of Lord Shiva. Depicted as half-male and half-female, in this avatar of Shiva is physically fused with his consort Parvati and represents the synthesis of masculine (purusha) and feminine (prakriti) energies of the universe. Parvati represents creation and Shiva represents destruction. Since no creation can take place without dissolution and no dissolution can take place without creation, Parvati and Shiva complement each other to maintain the never-ending cycle of creation and destruction. 

Some consider this ancient poem to be one of India's earliest references to gender equality. In its verses, Adi Sankaracharya joyously describes the complementary aspects of Shiva and Parvati: 

She exudes the fragrance of a champa flower, he of camphor. She has soft sensuous locks, his locks are wild and unruly. Her body is dusted vermillion powder, his with the ashes from the funeral pyre. She has the gentle smile of new creation, he has the fierce look of destruction. She is adorned with jewels and he with snakes. She wears beautiful clothes and he has only the vast sky as his garment. She performs lasya dance, which gentle and graceful movements, he does tandava, with rigorous movements that are an expressionof primal, rhythmic energy. They are the Universal Father and Universal Mother, whose coexistence keeps cycle of creation and destruction, and life itself, going.  

 

Choreography: Padmavibhushan ​Guru Kelucharan Mahapatra

Music Composition:​​Pandit Raghunath Panigrahi

Raag: Malika

Taal: Malika

Duration: 19 mins

Dancers: Santosh Ram and Samir Kumar Panigrahi of Rudrakshya Foundation

 

 

 

 

7. Dashavatar 

Dashavatar is an ashtapadi from Geet Govind, written by the 12th century Vaishnava poet Jayadeva, in which he describes ten incarnations of Lord Krishna. This poetic masterpiece has inspired classical dance traditions such as Odissi, where every gesture and expression breathes life into the avatars of Lord Krishna. 

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As you watch this performance, you’ll journey through time, witnessing the divine transformations of Lord Vishnu/Krishna as he takes on ten distinct forms. Each avatar is a symbol of universal themes that transcend culture: the protection of life, the triumph of good over evil, and the eternal renewal of the world.

Each avatar is portrayed through a combination of storytelling followed by pure dance.

1. Matsya (The Fish)
   Vishnu takes the form of a great fish to save humanity and the sacred Vedas. The world is threatened by a massive flood, and the wise sage Manu has been chosen to preserve life. Matsya appears in the waters and guides Manu's boat through the deluge, ensuring the survival of humanity and the protection of ancient knowledge. This avatar highlights the preservation of life and the continuity of wisdom in times of chaos.

2. Kurma (The Tortoise)
   When the gods and demons churn the cosmic ocean to obtain amrita, the nectar of immortality, they use Mount Mandara as a churning rod. But when the mountain begins to sink into the ocean under its own weight, Vishnu descends as Kurma, the giant tortoise, to support the mountain on his back, allowing the churning to continue. This moment, known as the Samudra Manthan, symbolizes perseverance and the effort required to achieve great rewards, as well as the balance between opposing forces.

3. Varaha (The Boar)
   When Earth is submerged into the cosmic ocean by the demon Hiranyaksha, Vishnu incarnates as Varaha, a mighty boar, to rescue her. Diving deep into the ocean, Varaha lifts Earth on his tusks and carries her back to the surface, and defeats the demon in a fierce battle. This avatar is often seen as the embodiment of the struggle to protect the Earth and the natural world from forces of destruction.

4. Narasimha (The Man-Lion)
   One of the most dramatic avatars, Narasimha emerges to save Vishnu's devoted follower, Prahlada, from his tyrannical father, the demon king Hiranyakashipu (brother of Hiranyaksha). Immune to being killed by man or animal, indoors or outdoors, during day or night, Hiranyakashipu believes he is invincible. But Vishnu takes the form of Narasimha — half-man, half-lion — and slays the demon at twilight, on the threshold of a palace. This avatar represents divine justice, showing how arrogance and tyranny are always defeated by faith and righteousness. 

5. Vamana (The Dwarf)
   The demon king Bali rules the universe, having conquered both heaven and earth. Vishnu appears before him as Vamana, a humble dwarf, and requests three paces of land. Laughing at this small request, Bali agrees. Vamana then expands to cosmic proportions, covering the heavens and the earth in just two strides. For the third step, Bali offers his head, accepting defeat. Vamana's story reflects humility, the importance of keeping one's word, and the divine protection of the cosmos through balance and fairness.

6. Parashurama (The Warrior with an Axe)
   Parashurama is a fierce incarnation of Vishnu, born to avenge the oppression of the warrior class. When the Kshatriya (warrior caste) rulers become corrupt and tyrannical, Parashurama, wielding his axe, embarks on a campaign to rid the earth of their injustice. He symbolizes the divine warrior who restores righteousness, not through brute force alone, but through the protection of moral order. His axe is both a tool of destruction and a symbol of discipline.

7. Rama (The Prince of Ayodhya)
   Rama, the hero of the Ramayana, is the epitome of dharma — righteousness, honor, and selfless duty. Exiled from his kingdom, Rama embarks on a quest to rescue his wife Sita from the clutches of the demon king Ravana. With the help of his loyal companions, including the monkey god, Hanuman, and the vanara army, Rama wages a war to free Sita and restore peace. Rama’s tale is an allegory of justice, moral strength, and the victory of good over evil, embodying the ideals of truth and devotion.

8. Balarama (The Brother of Krishna)
   In this incarnation, Vishnu takes the form of Balarama, the elder brother of Krishna, who is known for his immense physical strength and deep connection to agriculture. Balarama wields the plough (hala), which he uses to control rivers, cultivate fields, and even redirect the course of the Yamuna River. He is a symbol of the earth's fertility and the agricultural roots of human civilization, representing harmony with nature and the power of the land to sustain life.

9. Buddha (The Enlightened One)
   In this form, Vishnu incarnates as the Buddha, the enlightened teacher who guides humanity away from suffering. Born as Prince Siddhartha Gautama, he abandons his royal life in search of spiritual awakening. After attaining enlightenment under the Bodhi tree, Buddha spreads the message of compassion, non-violence, and the middle path to achieve inner peace. This avatar signifies Vishnu’s compassion for humanity, steering them away from ignorance and violence toward a path of understanding and peace.

10. Kalki (The Future Warrior)
    The final avatar, Kalki, is yet to appear. It is said that Kalki will come at the end of the current age, Kali Yuga, when corruption and darkness have spread across the world. Riding a white horse and wielding a sword, Kalki will vanquish evil and cleanse the world, preparing it for the new cycle of creation. This avatar symbolizes hope for renewal and the ultimate triumph of good over evil, reminding us that no matter how dire the times, light will always prevail.

The item ends with a depiction of the poet Jayadeva praying to Lord Jagannath (representing consciousness), his sister, Subhadra (representing Shakti/divine energy), and his elder brother, Lord Baladeva (representing Gyana/knowledge).

Through these vivid portrayals, the dance captures the universal themes of renewal, balance, and the eternal struggle between light and darkness. Each avatar holds a mirror to the human condition, offering timeless wisdom for every age.

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Choreography: Padmavibhushan ​Guru Kelucharan Mahapatra

Music Composition: Pandit Bhubaneshwar Mishra

Raag :  Kalyan

Taal :  Jhampa Taal 

Duration: 19 mins

Dancers: Sahana Bilgi, Jenny Dinh, Anusha Garg, Aparna Krishnamoorthy, Anika Porwal Kumar, Maureen Nandini Mitra, Naga Hasini Muppidi, Gowri Venkatesha Murthy, Gireeja Ranade, Haurko Tanaka, Keerthana Yellapragada

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