Odissi Dance

Tuesday, December 13, 2016

Odissi Dance

History of Odissi Dance

The historical backdrop of Odissi Dance is exceptionally rich. Odissi Dance Form has contributed an unmistakable school of established move to the rich mosaic of Indian culture, which has been universally acclaimed. 

In the Natya Shastra of Bharata, Odra-Magadhi style of move and music were said. On the premise of archeological confirmation, Odissi gives off an impression of being the most punctual established move frame. It prospered in Orissa and created over hundreds of years. 

The most punctual proof of move by expert female artists (Nartaki) is found in the Stone figures in holes of Khandagiri and Udayagiri close Bhubaneswar. These scenes were portrayed in the first Century B.C. by the Jain King Kharavela himself's identity an awesome artist. The Jams, the Buddhists and the Hindus all perceived move as a custom for love. Despite the fact that Orissa was governed by various regal lines in various ages, the move convention proceeded with unabated. 

In Orissan sanctuaries, models of moving and singing young ladies are found in extenso. In the thirteenth century, Konarka sanctuary was built and its Natya Mandapa (Dancing Hall) possesses large amounts of moving pictures, cut out of stone. Odissi move is brimming with sculptural postures known as Bhangis. Another selective stance of Odissi move is `Chauki. Aside from archeological and sculptural proof, a palm-leaf original copy called `Abhinaya Chandrika' composed by Maheswara Mohapatra (seventeenth Century) contained data about method of Odissi move. 

The historical backdrop of Odissi move did not stop there. The considerable Ganga King Chodaganga Dev, who fabricated the Jagannath sanctuary (1077-1147), presented the custom of move before the divinity in the sanctuary by Maharis (Devadasis or moving young ladies). Before sixteenth Century's over A.D., Orissa went under the administer of Afghans, Mughals, Marathas and the British. For more than three centuries, Orissa stayed in turmoil and "Mahari" custom declined. In its place "Gotipua" move showed up where young men dressed as young ladies moved outside the sanctuaries. The vast majority of the Odissi Gurus (Masters) of the prior circumstances were Gotipua artists. 

The established Odissi move was resuscitated by masters, for example, Pankaj Charan Das, Kelu Charan Mohapatra, Deba Prased Das, Mayadhar Rout, Harekrushna Behera and a large group of others. A similarly incredible administration has been rendered by the Odissi move entertainers. Indrani Rahman, Sanjukta Panigrahi, Kum Mohanty, Sonal Mansingh, Madhuri Mudgal, Yamini Krishnamurthy, Kiran Sehgal, Pratima Gauri Bedi, Minati Mishra, Priyambada Hejmadi and host of different artists put it on the world guide. Odissi as an autonomous move frame came to be perceived everywhere throughout the nation. Every one of the postures, steps and developments in Odissi move have been arranged and protected by the Odissi Research Center set up by Govt. of Orissa at Bhubaneswar. 

At last, a word about method and collection of Odissi move. In Odissi move, vital parts are called Padabhada, Bhumi, Chari, Biramani, Bhangi and Rasta (Mudras) and so forth. The distinctive things of Odissi move are recorded in the request in which they are performed: 


Batu Nrutya 


Abhinay and Mokshyanat 

Odissi move has a rich and differed collection. The most run of the mill stance of Odissi is the "Tribhanga" where the body is twisted thrice. A basic stance of Odissi move is 'Chawki'. Like other established move shapes, Odissi concedes to the division into nritta (unadulterated move) and nritya (expressional move and natya (Drama).

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