An Affair with Odissi Turning into Love
This is my story of an affair that blossomed into love — not with a person but with Odissi, one of India’s most iconic classical dance forms.
Sense of Wander: ★★★★★
Accomplished Odissi dancer Rajashri Praharaj in tribhanga position. Image courtesy of Srjan.
TAIPEI, Taiwan — Steeped in millennia-old traditions and heritage, India is home to a myriad of art forms. The allure of Indian dance have captured the attention of both professional dancers and amateurs from around the world. It’s not uncommon for some individuals in Taiwan to embark on transformative journey, travelling to India to immerse themselves in the beauty and grace of this art form, learning directly from accomplished gurus.
Upon completing their studies, many of these dedicated dancers return to Taiwan. Driven by a deep passion to promote and share the dance forms, they offer lessons to locals who are eager to experience India’s cultural legacy through bodily experience. And among the many dance styles that captivate Taiwan’s dance enthusiasts is one called Odissi.
Where it all began…
Originated in Eastern India in the state of Odisha, Odissi holds a significant place in the cultural tapestry of India. This particular dance style traces its roots back over two thousand years to the temples in Odisha, where it evolved as a form of devotional worship.
The earliest written records of Odissi can be found in Natya Shastra, the ancient Sanskrit text of performing arts. As a form of temple dance, dancers known as maharis — who were mainly women — performed exclusively for the deity in the sanctuary. The dance flourished under the patronage of temple priests, who used it as a means to convey religious narratives and express devotion to the deities.
What makes Odissi intriguing is its fluid torso movements, sculpturesque poses, and expressive storytelling. In particular, it places great emphasis on tribhanga, a Sanskrit word that means “triple-bend position”.
In this position, the dancer lays its weight on one leg, leaving its head, chest, and pelvis to move freely; she would gracefully bend her head, torso, and hips, creating a sinuous S-shaped curve akin to European contrappposto, but much more animated. Though an uneven distribution of weight, it oddly creates a beautiful visual balance to the eyes of its beholders.
I first came across tribhanga while learning Indian art history in my postgraduate studies, where I — for the first time — was fascinated by figures carved in this mesmerising and somewhat hyper-realistic position. The earliest example among them is said to be the “Dancing Girl” from Mohenjo-Daro, dated to about 2300-1750 BC. Both Buddhist and Hindu deities are seen depicted in tribhanga, but my favourite is none other than Shiva Nataraja, in which the Hindu god Shiva is portrayed as the divine cosmic dancer.
“Originally a dance of worship, the Odissi is a medium through which I gained deeper appreciation for the beauty of Indian art, and the potential of human body.”
Shiva as Lord of Dance (Nataraja), late 12th-early 13th century. Image courtesy of the Metropolitan Museum.
This multi-curvilinear motif, which forms the foundation of Odissi technique, permeates the dance’s movements, which encompass the imagery-evoking hand gestures (hastas) and intricate footwork patterns (padabhedas) that give birth to its rhythmic magic onstage.
Apart from tribhanga, the choka (also spelled chouka or chauka) position also serves as the basis of Odissi. Choka, meaning “square”, is the first position that I was taught when learning the dance. Its masculinity and power is connected with the stance of Lord Jagannath, and presents a stark contrast to the rather feminine tribhanga. This combination of the masculine and feminine is what — in my view — makes Odissi unique.
Accomplished Odissi dancer Rajashri Praharaj in choka position. Image courtesy of Srjan.
Rekindled Love of Odissi
Over the centuries, Odissi assimilated influences from various sources, including temple sculptures and regional folk traditions, resulting in a distinct style that combines spirituality, mythology, and aesthetics.
During the Mughal period, temple dancers were moved to entertain the court and the Sultan's family; some dancers became concubines to the nobles, whereas others went into prostitution. At one point, Odissi dance started to engage young boys known as gotipuas, who would dress up as maharis. They were dedicated by their families to temples or akhadas (gymnasium), where they were trained in acrobatics, singing and dancing.
Like many classical art forms, Odissi faced a period of decline during the colonial period when cultural practices were suppressed: in 1892, Christian missionaries launched the “anti-dance movement”, and in 1910, the British colonial government in India imposed a ban on temple dancing. This led the dancers to poverty, while enduring the stigma of being associated with prostitution.
In the mid-20th century, visionary artists and scholars, such as Guru Kelucharan Mohapatra and Guru Mayadhar Raut, undertook the arduous task of reviving Odissi dance. They studied ancient texts, temple sculptures, and oral traditions to reconstruct and codify the dance form, restoring its rightful place on the stage.
“With a deep-rooted belief that our bodies are sacred temples and dance serves as an earnest prayer, my engagement in Odissi becomes a plea for the continuity of this venerable tradition, despite shifts in time.”
I’m lucky to have delved into the world of Odissi under the guidance of Smt. Rajashri Praharaj (Rosy), an accomplished artist who’s the prodigy of the Guru Kelucharan Mohapatra gharana of Odissi. Rosy not only introduced me to the beauty and grace of this art form, but also illustrated the immense dedication and hard work required to master its elegant postures.
The pinnacle of my journey arrived when I observed myself in the mirror in the tribhanga position, where a sense of familiarity arouse — it’s as if I were transformed into one of those sculptures adorning the ancient temples in Odisha, meticulously crafted by artisans over a millennium ago. This moment of revelation shattered my preconceived notion of the tribhanga position being an exaggerated portrayal of the human body. Through physical experience, I discovered a previously unexplored aspect of my body.
In addition to teaching us basic body positions, Rosy also introduced us to the art of shirabeda (head movement), drushtibeda (eyes movement), grivabeda (neck movement). It was through these movements that I came to realise the extent to which I had been unfamiliar with various parts of my own body.
It turns out what initially began as an exploration of a dance form rooted in worship has transformed into a journey of self-discovery. The experience not only allowed me to develop a deeper connection with Odissi but also provided me with a profound understanding of my own physical being. In addition, the need to memorise the movements and mudras with their Sanskrit names add a linguistic dimension to my exploration.
I have still much to learn, as the unique aspect of Odissi lies in its abhinaya, or expressive storytelling. Through nuanced facial expressions, as well as eyes and neck movements, Odissi dancers excels in portraying a wide range of emotions, narrating mythological tales, folklore, and poetry through their bodies. The result is a timeless aesthetic that transcends cultural and linguistic differences.
With a deep-rooted belief that our bodies are sacred temples and dance serves as an earnest prayer, my engagement in Odissi becomes a plea for the continuity of this venerable tradition, despite shifts in time. After all, the resurgence of any tradition finds its wings when an audience embraces it wholeheartedly. And we, as individuals, can choose to embody this heritage through our very beings, by employing our bodies as conduits to grasp, and perhaps pass on, the profound beauty it bestows.
Our final class with Rosy on July 9, 2023
Reference:
Misra N. et al. (1988). The Odissi Dance Path Finder. Odissi Research Centre.
Nayak, S. (2020). “Brief History of Odissi Dance”. Sahapedia. Retrieved July 18, 2023.
Singh, P. (2019). Odissi: The Sacred Dance. New Acropolis Cultural Organization, India. Retrieved July 1, 2023.
Watch Rosy’s Performance on July 7, 2023 in Taipei