Odissi - Theory and Technique

Odissi like all classical dances in India follows the basic rules set forth in the Natyasastra. The human body is divided into two halves with equal distribution of weight. A deflection takes place when the dancer intentionally shifts weight from one part to the other. The body can be divided into three units namely the head, torso and hips and knees along which deflections can take place. The movement of the hips is a unique feature in Odissi for it is prohibited in the other dance forms. One of the typical poses in Odissi is the natavara bhangi or tribhanga . In Odissi this is achieved by sharply deflecting the hips in one direction, deflecting the torso in another and finally deflecting the head in the same direction as the hip. Odissi employs two techniques when it comes to the foot movements, the kunchita in which the toes touch the ground and the heel is raised and the anchita when the heel touches the ground and the toe is raised. Odissi also has some fairly exotic combinations of foot and leg movements, for instance a pose

known as the Dhanupada requires the dancers to extend a foot and make it touch their ear.

The Odissi dancer always starts out with the sama pada position in which there is a perfect distribution of weight. This is then followed by the chowka in which the equilibrium of weight is maintained but the distance between the two feet is increased. This position is essentially a rectangular arrangement of the limbs of the body. The main poses in this dance form are the minadani, bartula, ghera and dvimukha . These are different methods of covering space. The minadani is a method by which one leg acts as an anchor while the other traces out a semi circle. The ghera is when the dancer gradually turns wider circles. The dvimukha is a distinctive feature of Odissi dance in which both the legs are extended.

There are various forms of sitting, walking, leaping and elevations which reinforce some of the basic movements of the dance. Sitting positions are known by the generic term baitha . Walking movements are known as charis . These are of various styles and are one of the most exquisite methods of covering space. The dancer moves either front or back, in a circle etc. and creates intricate geometrical shapes and patterns. One of the most beautiful one is the spiral. The dancers weave their bodies into a spiral shape, with the different portions twisted in different ways. The final result is stunning, and portrays a static sculpture like quality. Odissi has a number of jumps, elevations and spins which form an important part of the dance. Odissi dancers also move the torso, and those movements are known as bhangis . Odissi dancers execute this movement in a very graceful and delicate manner.

A mixture of southern and eastern styles, Odissi has carved an identity of its own. Precision and grace give this dance a distinctive touch

Odissi like all classical dances in India follows the basic rules set forth in the Natyasastra. The human body is divided into two halves with equal distribution of weight. A deflection takes place when the dancer intentionally shifts weight from one part to the other. The body can be divided into three units namely the head, torso and hips and knees along which deflections can take place. The movement of the hips is a unique feature in Odissi for it is prohibited in the other dance forms. One of the typical poses in Odissi is the natavara bhangi or tribhanga . In Odissi this is achieved by sharply deflecting the hips in one direction, deflecting the torso in another and finally deflecting the head in the same direction as the hip. Odissi employs two techniques when it comes to the foot movements, the kunchita in which the toes touch the ground and the heel is raised and the anchita when the heel touches the ground and the toe is raised. Odissi also has some fairly exotic combinations of foot and leg movements, for instance a pose known as the Dhanupada requires the dancers to extend a foot and make it touch their ear.

The Odissi dancer always starts out with the sama pada position in which there is a perfect distribution of weight. This is then followed by the chowka in which the equilibrium of weight is maintained but the distance between the two feet is increased. This position is essentially a rectangular arrangement of the limbs of the body. The main poses in this dance form are the minadani, bartula, ghera and dvimukha . These are different methods of covering space. The minadani is a method by which one leg acts as an anchor while the other traces out a semi circle. The ghera is when the dancer gradually turns wider circles. The dvimukha is a distinctive feature of Odissi dance in which both the legs are extended.

There are various forms of sitting, walking, leaping and elevations which reinforce some of the basic movements of the dance. Sitting positions are known by the generic term baitha . Walking movements are known as charis . These are of various styles and are one of the most exquisite methods of covering space. The dancer moves either front or back, in a circle etc. and creates intricate geometrical shapes and patterns. One of the most beautiful one is the spiral. The dancers weave their bodies into a spiral shape, with the different portions twisted in different ways. The final result is stunning, and portrays a static sculpture like quality. Odissi has a number of jumps, elevations and spins which form an important part of the dance. Odissi dancers also move the torso, and those movements are known as bhangis . Odissi dancers execute this movement in a very graceful and delicate manner.

A mixture of southern and eastern styles, Odissi has carved an identity of its own. Precision and grace give this dance a distinctive touch