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[Full title: 顿别艣墨 forms of Orissa (1): Gati in classical dance form of 翱岣峣蝉蝉颈]

The regions in and around Odisha come under the 翱岣峢谤补尘腻驳补诲丑墨 辫谤补惫峁泃迟颈 as based on the 狈腻峁瓂补艣腻蝉迟谤补. Many works on dance and music were written in Sanskrit from around fifteenth century to eighteenth century. Some important notable works are abhinaya chandrika, 蝉补峁単墨迟补办补耻尘耻诲丑颈, 苍腻峁瓂补尘补苍辞谤补尘补, 蝉补峁単墨迟补苍补谤补测补苍补 and Abhinayadarpana prakasa. The practice of the dance forms were mainly based on these literary works or it can be noted that based on the practice these works were written. The classical dance style 翱岣峣蝉蝉颈 originated as a temple dance, which was born in the temples of 翱岣峣蝉丑补. The temple dancers were called maharis. This name is derived from the word 尘补丑腻苍腻谤墨. They were considered auspicious and great during the period when these temple dances were offered as offerings by these dancers. The practice of odissi is mainly based on the work known as 苍腻峁瓂补尘补苍辞谤补尘补. It also gives the description of the regional folk arts of Odisha.

After the Mahari tradition declined the Gothipua tradition started. This was the name given to the boys, who were dressed up as girls. The uniqueness was the acrobatic nature seen in the actions of these boys. Some of the 办补谤补峁嘺蝉 of the 狈腻峁瓂补艣腻蝉迟谤补 such as 艣补办补峁�膩s测补, 驳补峁単腻惫补迟补谤补峁嘺, 肠补办谤补尘补峁囜笉补濒补 and 濒补濒腻峁璦迟颈濒补办补, are performed by these gothipuas. The folk dances prevailing in Orissa have the bandha (acrobatic poses) which are used in 产补苍诲丑补苍峁泃测补. These gothipuas performed the 产补苍诲丑补苍峁泃测补 in festivals like jhulajatras.^[1]

The basic stances seen in 辞岣峣蝉蝉颈 are 蝉补尘补产丑补峁単补, (straight) 腻产丑补峁単补, (one side slightly bent) 迟谤颈产丑补峁単补 (three deflections) and chouk (a squarish stance). Chouk is more symmetrical and tribhanga is balanced but asymmetrical. The four 辫腻诲补 varieties are sama辫腻诲补 (sama), ku峁僪a辫腻诲补, (补测补迟丑补尘补峁囜笉补濒补), dhanu辫腻诲补 (svastika) and mah膩辫腻诲补.^[2] The feet variations are sama, 惫颈峁�a尘补, 驳丑补峁璱迟补, 蝉奴肠墨 and agratala. The footwork movements (agratala and 补帽肠颈迟补辫腻诲补) are performed in these stances. The marditha辫腻诲补 is used when the feet is brushed on the floor and moved in circular movements. Balancing in one leg as in vri艣cika辫腻诲补 or 奴谤诲丑补箩腻苍耻 is seen. The 肠腻谤墨蝉 of the 狈腻峁瓂补艣腻蝉迟谤补 are similar to the 肠丑腻濒墨 of 翱岣峢谤补尘腻驳补诲丑墨 region. The 肠腻谤墨蝉 such as 苍奴辫耻谤补辫腻诲颈办腻, 产补诲诲丑腻, 腻办峁�i辫迟腻, 补迟颈办谤腻苍迟腻, 耻诲惫峁泃迟腻, and 腻惫颈诲诲丑腻 are seen in the movements of 翱岣峣蝉蝉颈. 碍补谤补峁嘺蝉 like 惫峁浥沜颈办补, 办补峁璱蝉补尘补, 尘补测奴谤补濒补濒颈迟补, 驳补箩补办谤墨岣峣迟补 and 驳补谤耻岣峚辫濒耻迟补 are used for the gait such as moving in water, flight of a bird, movement of an elephant, etc. Generally the gait on the stage is by the 补帽肠颈迟补 and the agratala辫腻诲补. The walk is with 蝉奴肠墨 and agratala辫腻诲补, which is also known as 蝉颈谤颈辫补峁璱 in post-Bharata鈥檚 works.^[3]

The svastika辫腻诲补 is called dhanu辫腻诲补. The back agratala thump is called as prishtadhanu辫腻诲补. Spiral movements are called 产丑谤补尘补谤墨蝉 and utpluta jumps are called utha in Odissi. The swirling movements are performed in clockwise and anticlockwise directions. The peacock gait is performed with walking forward with crossed legs as in 耻谤耻诲惫峁泃迟补 and may奴ralalitha 办补谤补峁嘺蝉 of the 狈腻峁瓂补艣腻蝉迟谤补. The deer jump is performed with the 丑补谤颈峁嘺辫濒耻迟补 办补谤补峁嘺 of the 狈腻峁瓂补艣腻蝉迟谤补. Actions of animals and birds are performed with 肠丑腻濒颈蝉 seen in the post Bharata texts. The sculpture like poses, such as holding the mirror, which is called 诲补谤辫补峁噄 and posing at ease with lalitahasta as in 耻诲惫峁泃迟腻办补谤补峁嘺 of are seen in many sculptures of Konarak temple. The special movements of moving the torso to the sides, front and back in a very graceful manner is based on the 辫腻谤艣惫补 and 耻谤补岣� movements known as 辫谤补蝉腻谤颈迟补 and 腻产丑耻驳苍补. These are the gait identified in the dance repertoire of 翱岣峣蝉蝉颈.

Covering the space on the stage is performed with 膿ka辫腻诲补 and dvi辫腻诲补 肠腻谤颈蝉 and the gait is performed forward and backward circular diagonal and in spiral movements.^[4] Bhumis are the ways of covering the space like gatis. Sitting postures are called baitha and standing are called 蝉迟丑腻苍补办补. Walking is cali and running is burha. Bhasa is shifting weight or swaying the body. The uthas are the jump a like utplutas of the 狈腻峁瓂补艣腻蝉迟谤补 and the bhaumaris are the 产丑谤补尘补谤墨蝉.

惭墨苍补诲丑补峁囜笉颈 are semi-circular gaits where the lower half of the leg (calf) is mainly used to cover the space. Bartula and Ghera are circular movements where the smaller concentric circles gradually become bigger concentric circles Thus, the smaller circles are expanded as bigger circles. Dvimukha are gaits performed with complete extension of both the legs. The 辫腻诲补bedhas of odissi are not only feet but also the whole leg like 肠腻谤墨蝉^[5] of 狈腻峁瓂补艣腻蝉迟谤补.

The repertoire of 翱岣峣蝉蝉颈 starts with 谤补峁単尘补帽肠丑辫谤补惫别艣补 followed by 尘补峁単补濒腻肠丑补谤补苍. The entry of the dancer starts with 蝉补尘补产丑补峁単补 and the walk is in 腻产丑补峁単补, which is similar to the 产补诲诲丑腻c膩r墨 of the 狈腻峁瓂补艣腻蝉迟谤补. The dancer comes to the centre of the stage with the 辫耻峁�p腻帽箩补濒颈 hasta and offers salutations to the god Jagannatha. 惭补峁単补濒腻肠丑补谤补苍 is similar to the 辫耻峁�p腻帽箩补濒颈 and 辫奴谤惫补谤补峁単补 of the 狈腻峁瓂补艣腻蝉迟谤补. The dancer begins with the 产丑奴尘颈辫谤补苍腻. She executes steps based on the rhythmic syllables performed by the percussion instruments. Dancer enters to the centre of the stage with proper 艣濒辞办补 performed on 惫颈驳丑苍补谤腻箩补. After that with the 补帽箩补濒墨丑补蝉迟补, the dancer moves around the stage by offering salutation to the eight directions and greeting the audience. For this, only rhythmic syllables are recited by the percussionist who also recites the bhols.

叠补峁璾苍峁泃测补 is the basic pose of the dancer holding 惫墨苍腻, maddala and 尘补帽箩颈谤补. The rhythmic steps are performed in these poses, which are performed in chouka position. 叠补峁璾苍峁泃测补 starts in chouka position in a slow rhythm and gradually the rhythm increases and the dancer performs a series of 肠腻谤墨蝉, 产丑补峁単颈蝉 and 办补谤补峁嘺蝉. Thus, the gati in 产补峁璾苍峁泃测补 is based on the rhythmic instruments. Finally, the item is ended with abhinaya piece. The 苍峁泃迟补 technique begins with chouka position and the tempo slowly increases with intricate feet movements.

Pallavi has movements according to the svara and 迟腻濒补 patterns. When it is performed in slow speed it is called 腻濒腻辫. It can be performed in medium or fast tempo. The name pallavi means sprouting that is the 迟腻濒补 patterns are elaborated. This is similar to 惫补谤诲丑补尘腻苍补 of the 狈腻峁瓂补艣腻蝉迟谤补. Pure 苍峁泃迟补 reflects the 谤腻驳补 and melody and here too the tempo gradually increases towards the end. There might be one or two pallavis interspersed between interpretative dances. Pallavi has expressive elements in 蝉峁涐箙驳腻谤补辫补濒濒补惫颈, (joy and shy) 迟补谤补峁単补辫补濒濒补惫颈 (waves of the sea), 尘辞办峁�y补 is the concluding piece, which is performed in fast tempo accompanied by bhols or mnemonic syllables, along with the percussion instrument pakhwaj. 颁腻谤颈蝉 like 补诲丑测补谤诲丑颈办腻, 耻迟蝉测补苍诲颈迟腻 and 办补谤补峁嘺蝉 similar 耻诲惫峁泃迟腻, 箩补苍颈迟腻, avahittaka are seen in this style.

Footnotes and references:

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[1]:

Indian Classical Dance鈥�Kapila Vatsyayan p.37.

[2]:

Ibid.p.37

[3]:

狈峁泃迟补谤补迟苍腻惫补濒墨

[4]:

Indian Classical Dance鈥揔apila Vatsyayan p.37.

[5]:

Ibid.p.38.