Appreciating Beauty and Meaning in

Odissi Dance!

Appreciating Beauty and Meaning in Odissi dance ! By Dr. Rohini Dandavate Ed. by Isha Dandavate March 2012

Odissi dance, a ritual in the temples of Odisha, was a creative expression of

spirituality. Reflecting the beauty of the body, mind and nature, it echoed the imagination of the locals. Beauty in Odissi dance emanated from the intricately stylized form, lilting musical support, flowing movements and eloquent facial expressions. The aim of the Odissi dancer was to transcend the physical and experience deliverance through the medium of dance. Originating in temples, Odissi dance was patronized by successive rulers and evolved by incorporating the changing religious beliefs and practices of those rulers. The consistency of the core elements in Odissi dance are evidenced by the dance sculptures on various temples and caves of Udayagiri and Khandgiri which suggest that the form survived the social, cultural, and political upheavals in the region. During the Moghul and British rules, Odissi dance moved out of the temples. Young boys, who were called gotipuas, continued to practice and perform the dance form and eventually passed it on to the Gurus of the present day. Because it was performed by boys, the dance lost some of its subtle elements that were innate to the feminine form. After India gained Independence, there was a drive from the new government to revive and reconstruct the art forms that were lost during British rule. In the reconstruction process of Odissi dance, Guru Kelucharan Mohapatra (Guruji) was one of the key contributors. His inputs parallel the contribution of the architect Christopher Alexander, who drew the attention of people to the beauty of incremental, organic, and coherent design. Guruji and his colleagues

developed and refined the repertoire of Odissi to be in sync with the needs of the time. For example, the format of the repertoire was divided into several dance numbers instead of one long presentation, which was the original format when performed in the temples. Group presentations and group formations were introduced for visual appeal. The Gurus introduced many additions and modifications, which retained the essence of the tradition and technicalities of the original dance form while adapting it to the present day context. Christopher Alexander, in his book Notes on Synthesis of Form, explains that the evolution of an art form is shaped by a contextual need in the context of his work (design and architecture), Alexander writes that form is not shaped by designers, but by the changing cultural traditions. Each element of Odissi dance is meticulously coordinated, making the execution of dance seamless, flowing and enjoyable. The dance seems simple and easy when watched but its complexity is understood and appreciated only when one synthesizes the complete vocabulary that creates the eye-catching and joyous experience. Dr. Francis J. Kovach, a catholic philosopher, explained beauty in his book, Philosophy of beauty. He wrote, What makes something beautiful is the fact that, in it whether it be a material object or some type of activity, there is a multitude of parts, components, factors or aspects, and, at the same time, also a unity make up of those parts, components (Kovach, 1974, p. 305) In sync with Dr. Kovachs description of beauty, the art of Odissi dance unites multiple elements: stories, structure, movement, rhythm, music, facial expressions, gestures, and costumes. The skill and competence of the choreographer and the dancer lies in the manner in which several elements unite to create a beautiful artwork in motion.

In the following paragraphs I will discuss the distinct characteristics of the Odissi dance style, which contribute to enhancing the beauty of the form, and lend an aesthetic experience both to the dancer and the viewer: the aesthetic experience, the creative process, vocabulary of movement, costumes, and ornaments and makeup. The Aesthetic Experience

Bharat Munis theory of Bhava and Rasa form the basis of aesthetics in Indian
dance or drama. The 6th and 7th chapters of the Natyashastra, known as the Rasadhyaya and Bhavaadhyaya define the concept of the Bhava and Rasa theory. Bharat Muni writes in the Rasadhyaya chapter (about the theory of Rasa) of Natyashastra that "no meaningful idea is conveyed if the rasa is not evoked". In the philosophy of Indian aesthetics, the goal of an artist is to evoke rasa, literally meaning essence or taste. The challenge for an dancer is to be able to evoke the appropriate aesthetic experience, or rasa, in the audience.!According to Bharat Muni, dance and drama, is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavor the portrayed pleasure and pain (lokasya sukhaduhkha) as natyarasa. This rasa experience will entertain and enlighten the spectator who hence becomes the 'rasika'.
Source:http://www.shadjamadhyam.com/rasa_theory_with_reference_to_bharata s_natyashastra

In dance or drama the artist aims to unify the perceptual image and pattern into a whole delightful experience for the viewer with facial expressions, symbolic gestures and body movements resulting in creating the aesthetic experience

(rasa). According to Bharat Munis Bhava and Rasa theory, dance and drama provide a stimulus (vibhava) that ignites either the permanent emotion (sthayi bhava) or the transitory emotion (vyabhichari bhava). This stimulus leads to anubhava, a response or reaction resulting in rasa, which is the overall aesthetic experience. There are three categories of Bhava: Sthayi, which are permanent emotions; Vyabhichari (also known as Sanchari), which are transitory emotions; and Satvika, which are physical manifestations of emotion. The eight types of Sthayi bhava correspond to eight rasas. The transitory states help the permanent psychological state to mature into Rasa or the aesthetic joy in the viewer. The Shanta, Vatsalya and Bhakti rasa were added later. The categories of Bhavas and the different Rasas can be seen in Appendix 1. The theory of Rasa and Bhava is applied in Abhinaya, the dance number in which stories describing Gods lives are narrated through dance. As a form of story telling, it communicates religious ideas and arouses emotions in the audience. John Paul Friedrich Richter, a German romantic novelist, described dance as the natural expression of the spirit at one with the body and believed that it maintains the balance of the inherent spiritual faculties which constitute a persons spiritual wellbeing (Pridmore, 2004, p. 287). Richter refers to dance as a mind and body experience, and similarly, Odissi dance was a ritual in temples, used to maintain harmony and the well being of people in the community. The traditional repertoire began with prayers and salutations progressing to pure and expressive dance numbers. The embedded spiritual meaning with the beauty of the physical form and movements gradually drew a path for the dancer and the audience to experience intense joy and the beauty of the dance. The prevalence of dance as a way to experience beauty is universal. To exemplify this point, I present on the following page the views of a few practitioners in the United States. Dance Magazine interviewed dancers and choreographers to get their insights on three questions: What do you find

beautiful onstage? How has this changed for you? Can you give an example of what or whom you find beautiful?
Christal Brown, Artistic director, INSPIRIT, a dance company said, One of the main characteristics when I think of beauty is self-possession. In my mind, people who are self-possessed are automatically beautiful because theyve honed a persona that is authentic. What comes across in performance is that understanding of what makes things work on a visceral level, and it kind of spurts out from there. Alexandra Beller, Artistic director, Alexandra Beller/Dances; faculty, Dance New Amsterdam said, I find it beautiful when something onstage turns a mirror to me and reflects something out of my own mind or heart or life. Garrett Ammon, Artistic director, Ballet Nouveau Colorado, said When an audience sees somebody be very vulnerable and free onstage, it allows them to feel vulnerable too. And the fragility of our egos and our hearts, combined with the power of the body, is something I find beautiful. Heather Hamilton, Cedar Lake Contemporary Ballet, said A lot of people find beauty in lines and feetthat whole perfect thing. But my eye always goes straight to the person whos most comfortable onstage, someone whos truly alive. You cant teach that. Rie Ichikawa, Soloist, Boston Ballet, said My idea of beauty I guess, its really when people get lost in the moment of performance, when their movement flows musically. Watching my friends in Boston Ballet become different people onstagethat is beautiful. Karen Callaway Williams, Dancer, New Jersey Tap Dance Ensemble, said, The quality of someones personality coming out through their dance.

The response of these dancers and choreographers corroborate that beauty in dance comes from within the performer. It is reflection of ones self: personality, intuition, and surrendering to the moment. Rasa or beauty ensues when the mind combines with the power of the body through dance.

The Creative Process

Any creative process, as Derald Schultz, Founder and Principal of Mediarail

Design Inc, explains, is a time consuming process in which imagination, a sense of curiosity and analytical skills, all play a integral part. The gurus who developed the present Odissi dance form passed through a similar process which involved reviving the original form, meaning, and essence, and translating them into the language of dance in a way that appealed to audiences. Due to the creative process undertaken by the gurus, Odissi evolved from being a local tradition to having a place on the world stage. The following paragraphs will focus on some of the elements of their creative process. Symbolism is dominant in the various elements of the dance. The philosopher Ernst Cassirer names the human race as homo symbolicus; human beings are inherently symbol-making creatures. True to this statement, Odissi dance is symbolic imagery in motion. Its vocabulary of movements include the language of hand gestures, precise facial expressions and stylized postures which symbolically present meaning of the verses. The literary compositions to which the dance is set and performed are mostly Vaishnavite where mans yearning for God is depicted. Odissi music is mostly based on the rules given in the Natyashastra and Sangeet Ratnakar. It also borrows from the regional texts (Geeta Prakash and Sangeeta Narayan) to establish its distinct regional identity. Like the church choirs and gospel music, verses danced are taken from the Hindu scriptures, describing beauty, life and virtues of the Gods. Songs with spiritual themes, written by many famous Odia (language of the state of Odisha) poets, Upendra Bhanja, Kavi Surya, Baladev Rath, Banamali Das, Gopalkrushna to name a few, have inspired many Gurus and dancers. Their lyrical compositions have been the themes of many dance numbers and dance dramas.

The dance is set to lyrics of different types of poetry. E.g. Champu, Chhanda, Chautisa, Geeta Gobinda, Janan and Bhajan. In a Champu composition every stanza starts with the same alphabet and mixes prose and poem. In a Chhanda, the emphasis of the verses is on rhythm. In Chautisa there are 34 (Chautrisha) padas (stanzas) and every pada begins with a consonant of Oriya language. The 34 stanzas starting with each one of the 34 consonants are used in sequence. The Chaupadi form of poem includes four stanzas. The theme of the Chaupadis is love and the language is lyrical, and simple. Chaturang also consists four parts, e.g. Khayal, Tarana, Saraagam and Tirvat. The first part, includes words of the song, followed by the syllables in Tarana. The third piece is a small Sargam (musical notes) sung in the same Raaga (melody) in which the Chaturang is sung, and the last part has the recitation of the Bols (syllables) of Pakhavaj (percussion). The traditional practice of the dancing to the recitation of the Geet Govind, the 12th century love lyric written by poet Jayadev, continues to form an important part of the expressive dance numbers in the Odissi repertoire. The lyric has 24 Astapadas (each song has eight stanzas) and the songs describe the various moods encompassing episodes of love, separation and reunion between Radha and Krishna. Janana and Bhajans are the devotional Odiya songs. Janana (Odiya word for prayer) is an invocation and Bhajans are songs which sing the praise of the Lord. These distinct categories of prose and poetry in the dance choreography add an inimitable dimension, inspiring the mood and expression in the dance. The raagas (melodies) selected for the dances follow the two mainstream musical traditions of Hindustani and Carnatic music.

Vocabulary of Movement

Like the seven other classical dance styles, the basic vocabulary of Odissi
dance is also mainly based on the rules prescribed in the Natyashastra". However the beauty in Odissi dance comes from use of this basic vocabulary in creating a dance movement, which came from temple sculptures in Odisha.The carved postures on the temple walls are translated into bhangis (dance poses) and strung together making beautiful dance numbers. e.g. Batu Nrutya, a pure dance number in the traditional repertoire that best exhibits the bhangis. The two images given below display the translation of temple sculptures into dance postures.

Carvings on the temple walls depicted poses from the Odissi dance!

Image 1: Translating temple sculptures into dance postures

Photo credit: Shailan Parker, Sketches by Panda D.C., Kanungo J.& Mohapatra B.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " Gurus and scholars also referred to other texts, which are the Abhinaya Darpana Prakasha by Jadunatha Sinha, the Abhinaya Chandrika by Rajmani Patra, and the Abhinaya Chandrika by Maheshwara Mahapatra. !

The two typical basic feet positions are Chauka and Tribhangi. Movement set in the Chauka and Tribhangi positions gracefully blend masculine and feminine characteristics in the dance. The soft and flowing movements are executed using the Tribhangi, while the stronger movement patterns use the Chauka position. In the Tribhangi position, the hip is deflected from the horizontal Kati Sutra (waist line), the torso is deflected in the opposite direction as the waist and the head bent towards the same direction as the hip. Due to the deflection of the hip in Tribhangi the knees and the toes are directed outwards. The characteristic feature is the hip deflection and the side-to-side movement of the torso. This movement of the torso lends to the fluid graceful flow of the upper body, which is specific to Odissi dance.

Image 2: Guru Kelucharan Mohapatra executing movement in Tribhangi

Photo credit: http://www.indianetzone.com/photos_gallery/12/Kelucharan_20360.jpg

In the Chauka position, the heels face the centre, the toes point outwards and the heels are shoulder-width apart. The feet are flat with the entire sole in contact

with the ground as illustrated in the pictures. The knees are turned outwards and the thighs are bent. This is akin to the position of pli in western ballet and Aramandi position in Bharatnatyam.

Image 3: Dr. Rohini Dandavate in Chauka

Photo credit: Shailan Parker

The stringing together of the various postures in the choreography bring alive the sculptures carved on the temple walls. Pallavi, one of the dance numbers of the repertoire best display the smoothness in the execution of movements using these basic positions. Movement patterns are set to select ragas (melody) like Shankaravaran, Saveri, Arabhi to name a few. The dance number begins with slow paced footwork, illustrating the notes of the musical scale which gradually increase in momentum. The choreographers selection of the steps, and transitions bring out the exceptional grace and lilt of the dance style. Another distinct feature of Odissi dance is the extensive usage of the heels. Dance numbers include footwork with alternate use of the toes and heels moving in smooth circular, or horizontal lines. The weight of the body is shifted from one leg to the other adding a different dimension to the movements. Another

noteworthy feature is the leg extension in the kneeling position. Overall, the lyrical support, graceful movement of the upper body, and rhythmic footwork in well-balanced body positions bring beauty to the movement in Odissi dance. Costumes

The traditional costume, ornaments and makeup an Odissi dancer wears is

described in the Abhinaya Chandrika. Unique hand woven silks with motifs of flowers, animals, birds, leaves, sea creatures, conch shells, and symbols of temple architecture are draped. The symbolic triangular shapes woven on the borders signify the temple steeple, the conch shells, flowers and leaves are symbolic of those offered and used in the rituals. Threads of traditional primary colors are used in the looms. The present day dance costume is pre-stitched for convenience and comprises five pieces. A trouser like garment, a blouse, a odhani, a pice which draped on the chest, a wide semi circular piece worn on the waist covering the seat, and a pleated fabric buttoned to the trouser which opens like a fan in the chowka position. Given below are illustrations showing the common symbols and patterns on the handloom sarees.

Image 4: Samples of Odisha Handloom Silk Saree

Photo credit: http://sarishop.com

In the present times, some dancers chose to not use the Odhani (the fabric that is draped on the blouse to cover the chest) to emphasize the lines and curves in the posture. This modification has raised controversy; many believe that the omission of the Odhani from the costume brings too much focus on the body,

emphasizing the physicality of the form rather than the subtlety of expression. Novel approaches like this one might impact the core purpose of leading the audience towards release through subtle movement and expression. Ornaments and Makeup

Odisha is famous for its filigree ornaments made fine silver wires which are
shaped into intricate designs on ornaments. The designs used for filigree are mostly inspired from folklores, nature, wildlife, religion and mythology. Odissi dancers use this locally produced jewelry as a part of their costumes. The belt, earrings, necklaces, bangles, armlets, rings, and anklets are all made in silver filigree. The image below illustrates the different ornaments which are worn by an Odissi dancer.
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Image 5: Silver Ornaments worn by Odissi dancers

Photo credit: Shailan Parker

Another distinct feature of the styling the hair is the use of the Tahia, which symbolizes the shikara (tower) of a temple. Worn in the center of the garland of flowers decorating the bun, the style is distinctive to Odissi dancers. The makeup on the face, includes the Chita (pattern drawn on the forehead) and the bindi which are marked for its design. The bindi is inspired by the Neel Chakra (blue wheel) placed on the Jagannath temple in Puri. The chakra is symbolic of the cycle of life and death. It is also the weapon of Lord Vishnu in Hindu mythology. Alta, a red liquid is applied on the palms, finger tips and feet with a view to both decorate and accentuate the gestural and feet movements.

In conclusion, Odissi dance has the power to create meaning and beauty, and
stir emotions in the viewers. As a dance form that translates life through movements, it continues to attract audiences all over the world.

Rohini Doshi-Dandavate holds a doctoral degree in Cultural Policy and Arts Administration from the Ohio State University. As an artist in the Arts in Education Program of the Ohio Arts Council, she has conducted workshops and lecture demonstrations on Odissi dance in schools and colleges in Ohio since 1994. She has offered courses in Odissi dance, as a Visiting Faculty in Denison University in 2001 and continues to offer dance lessons. She received a graduate degree in Odissi dance from Kala Vikash Kendra, College of Indian Dance and Music, Cuttack, India. Her gurus are Guru Kelucharan Mohapatra, Guru Raghunath Dutta, Guru Ramani Ranjan Jena, and Dr. Menaka Thakkar.

References Alexander, Christopher. (1964) Notes on the Synthesis of Form. Cambridge: Harvard University Press. Rangacharya, Adya. (2007) The Natyashastra, New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd. Patnaik, Priyadarshi (1997) Rasa in Aesthetics, New Delhi: D.K. Printworld Pvt. Ltd. Jansen, Eva Rudy (1997) The Book of Hindu Imagery, Holland: Binkey Kok Publications. Klostermaier, Klaus K. (1998) A Concise Encyclopedia of Hinduism. Boston: Oneworld Publications. Online References Interviews by Brenda Dixon Gottschild, Margaret Fuhrer, Emily Macel, Wendy Perron, Lynn Shapiro, and Jennifer Stahl (2008). In the Eyes of the Beholder. Dance Magazine, July 2008. Retrieved from http://www.dancemagazine.com/issues/july-2008/In-the-Eyes-of-the-Beholder Novic, David (2011).The Association between Dance and Religion. Religion and Society. Retrieved from http://religionandsocietycourse.blogspot.com/2011/06/association-betweendance-and-religious.html

Appendix Sthayi Bhavas and Corresponding Rasas Sthayi Bhavas 1 2 3 4 5 6 7 8 Rati (Love) Hasya (Mirth) Shoka (Grief) Krodha (anger) Utsaha (Heroism) Bhaya (Fear) Jugupsa (disgust) Vismaya(wonder) Corresponding Rasa Shringara (Amorous) Hasya (Humorous) Karuna(Pathetic) Raudra(furious) Vira (Valorous) Bhayanaka(Horrific) Bibhatsa(Repugnant) Adbhuta(Wondorous)

Vyabhichari Bhavas 1. Nirveda (dejection) 2. Glani (languor) 3. Sanka (suspicion) 4. Asuya (jealousy) 5. Mada (intoxication) 6. Srama (fatigue) 7. Alasya (laziness) 8. Dainya (misery) 9. Chinta (anxiety) 10. Moha (faint) 11. Smriti (thoughtfulness) 12. Dhrti (fortitude) 13. Vrida (bashfulness) 14. Capalata (nervousness) 15. Harsa (joy) 16. Avega (agitation) 17. Jadata (slothfulness) 18. Garva (pride) 19. VIsada (sorrow) 20. Autsukya (uneasiness) 21. Nidra (sleepiness) 22. Apasmara (forgetfulness) 23. Supta (asleep) 24. Vibodha (awakening) 25. Amarsa (intolerance) 26. Avahittam (dissimulation) 27. Ugrata (fierceness) 28. Mati (understanding) 29. Vyadhai (disease) 30. Unmada (insanity) 31. Maranam (death) 32. Trasa (dread) 33. Vitarka (argumentative)

Satvika Bhavas 1. sthamba (petrification) 2. sveda (perspiration) 3. romancha (horripilation) 4. svarabheda (voice change) 5. vepathu (trembling) 6. vaivarnya (facial colour change) 7. asru (weeping) 8. pralaya (fainting)