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To
watch Odissi is to watch an ever-changing landscape through gentle
reflective times into the moments of uproar. It is thrilling and
touching to observe, but for the dancer the landscape goes deeper
yet. Odissi’s history springs from the temples of East India
and it is truly a moving meditation, a yoga dance. When mastered,
the dancers mind is relaxed and focused on one thing- God, even
while performing an extremely complicated dance.
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Odissi
is recognized for it’s curvature and rounded movements.
Tribungi, one of the main postures of Odissi, is named for its
three angles created by the neck, torso and hip alternately
angled. Layer upon layer of detail is added to this dance: complex
footwork, torso movement, mudra (symbolic hand positions), movement
of head and eyes as well as facial expression makes it one of
the most technically challenging of the Indian classical dances.
This beautiful dance has been passed from guru to student for
thousands of years and takes years of dedication to master.
Odissi music is of the North Indian style encompassing flute,
vocals, violin, magira and the pakawaj (a double headed drum
also known as mrudunga). The repertoire is broken into 3 main
categories: Nritta- pure dance, Nritya- theatrical dance and
Abinaya- expressional dance. The dances can be either Lassya
(feminine and delicate), or Tandava (masculine and powerful).
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Based
on archeological evidence, Odissi dance is quite possibly the
earliest classical Indian dance style dating back over 2,000 years.
The Natya Shastra (written in the 2nd century AD) refers to the
Odra Magadhi dance style, the early roots of Odissi dance. Sculptures
of voluptuous dancers in the Odissi position- tribungi (deflected
hip, tilted head and arched arm position) are found throughout
Orissa in various temples.
King Indradyumna build the Jagannatha temple in Puri in the 15th
century, employing thousands of workers including dancing women
attached to the temple known as Mahari’s (also referred
to as Devadasi’s). Legend has it King Indradyumna invited
Brahma from heaven to found the temple in Puri. Brahma came accompanied
by various Gandharvas and heavenly apsaras (the celestial dancers
Urvashi and Rambha from the court of Lord Indra). Songs were sung
and Urvashi and Rambha danced their heavenly dance. |
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Early
inscriptions of dancers employed at the Jagannatha temple date
back to AD1099. Other temples such as Shiva and Shakti temples
employed dancers as well. A mahari’s work included menial
jobs as well as dancing and singing at the time of evening when
Jagannatha was ritually adorned. They led pure, disciplined
lives and underwent a ritual marriage where a piece of white
cloth was taken from the idol and tied around the mahari’s
head. Only after this, was the mahari allowed to dance at rituals.
During the mourning offering, dance was confined to nritta (pure
dance) while before bed at the adornment ceremony, Nritya (expressional
dance) based on the 8 stanzas of the Gita Govinda was performed.
Mahari’s danced for both daily rituals and festivals such
as Rath Yatra.
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| Mahari
temple dancers of the 1800's
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From
the 16th to 18th century political situations spurred a lack of
support for the arts, resulting in a decline of the dance tradition.
During the decline of their art, Maharis danced in the royal courts
seeking patronage of landlords. This caused a tarnishing of the
Mahari’s reputation (due to close association with courtesans)
that still persists today. The tradition of adopting poor daughters
to devote to serving god had ended completely with the beginning
of British rule in 1806 AD. However, in the 1600’s male
dancers dressed as women, known as Gotipuas, began performing
at festivals and temple rituals. Gotipoa utilizes the Odissi postures
and composition, yet the boys bend themselves into challenging
contorted poses. Gotipuas were still dancing as traveling theater
groups into the early part of the 1900’s when Maharis had
nearly disappeared completely. In the late 1940’s Pankaj
Cheran Das, who was trained in the Mahari tradition as well as
Gotipoa dances began putting together a drama group that included
Kelu Charan Mohapatra. These dancers were to be two of the most
important Gurus involved in the creation of Odissi as we know
it today. Through interviews with retired temple dancers, studying
temple carving and ancient dance texts (Abinaya Chandrika and
Natya Shastra) and drawing from the inspiration the young gotipoa
dancers felt, Odissi was born as we know it today- a classical
art form of complex beauty. |
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In
2001 Colleena started studying Odissi under Ratna Roy in Seattle,
WA. Tears streamed down her face throughout that first class,
Odissi made a swift and heavy mark in her soul at first meeting.
After just 3 months of processing the changes that Odissi had
made in her life she knew she had to make a serious life change
to make this dream manifest. After a brief course with Guru Jyoti
Rout in Berkeley, CA, she moved to Bhubaneswar in Orissa, India,
the heartland of Odissi dance. It is here she met her beloved
Guru Padma Cheran Dehuri. Under his care she continues to train
intensively in this beautiful art form. |
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Introduction
to Odissi: Classical Indian Dance from the Temples of East India
(2.5 hour class):
This is an introductory course covering the basic elements of
this form. We work on exercises to develop balance, layering body
movements and executing clear eye movements. The 2 basic positions
of Odissi (Choka and Tribungi) will be explored as well as mudras
and a short choreographed piece.
Introduction to Odissi Classical Dance Choreography:
In this workshop we go beyond the basic stepping exercises and
learn about what goes into classical dance choreographies. The
aspect of Abinaya (expression and storytelling) is introduced.
Aesthetic and ‘bhava’ (subtle feeling) are explored
in this class through a short sequence. |
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Classical Indian Mudras and Eye movement:
The subtlety of eye movement and delicate hand postures are some
of the details that make Indian classical dance so rich. We go
into a basic vocabulary of mudras and eye movements from the ‘Natya
Shastra’ and exercises that will help develop needed strength
in your hands as well as eyes. Finally we will learn how to use
mudra and gaze in still poses and dance. For dancers of any style,
this workshop helps you to explore new possibilities in the quality
of your dance.
Temple Dance History:
This is a lecture that transpires into dance poses found in temple
carvings and finally movements from Odissi choreographies. We
recount the fascinating history of Devadasis (women dedicated
to the temple) and discover the spiritual significance of Odissi
dance as an active means of worship. A fascinating glimpse into
2,000 years of dance in praise of the Gods. (Can include demonstration)
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| One
Day Odissi Intensive Workshop: |
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Part
1: |
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Vedic
theories in movement and meditation (Yoga asana warm up,
Sanskrit prayers) |
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Odissi
exercises (Muscle toning and balance) |
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Stepping exercises in Choka and Tribungi poses (5 stepping
exercises) |
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Part
2: |
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History of Devadasis and the evolution of Odissi dance |
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Classical
Indian dance theory (Mudra, eye movements and music theory) |
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‘Thirteen
poses’ (This section is designed to teach students
about the Hindu Gods and Goddesses and evoke deeper meanings
beyond the symbolism. Classical temple dance poses in the
Tribungi position will also be taught.) |
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| Weekend
Odissi Intensive Workshop (2 days): |
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daily schedule as listed above in the One Day Intensive
with the addition of: |
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1. |
Going
much deeper into all topics, giving students a more extensive
understanding of information presented. |
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2. |
Learning
a short piece of choreography the second day. |
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