The Image of Nataraj: The Odishan image of Nataraj (नटराज) has been carved in various poses by various hands. Most of the Natarajas occupying the front facades of temples are ten-armed. The Natarajas painted on the walls are two-armed, four-armed and six-armed. The Natarajas of the
Lingaraj Temple and the
Jagannath Temple of
Bhubaneswarand
Puri respectively, are six-armed. In all cases the foot rests in ‘Suchi pada’ (right foot resting on the point of the toe). Shiva and Parvati images of the 11th century found in Soro (Balasore), display Abhaya mudra, which is the earliest of the ‘mudras’ to be found in Odishan architecture. Of course the dancing Heruka in Tandav (तांडव) pose as in Ratnagiri in Odisha, poses another problem.
At Ratnagiri one can find only four mudras: Dhyana (ध्यान), Abhaya (अभय), Varada (वरद) and Bhumisparsha (भूमिस्पर्श). For evidence, one has to take Konarak into consideration — the last milestone of Indian architecture. Since the Konarak is a ‘lasya’ (लास्य) conception, the dancing forms displayed on the walls of the temple, are of the ‘lasya’ type. Every inch of the Natamandira is covered with the carvings of dancing girls and musicians. Dancers holding drums, cymbals and mirrors, are excellent expressions of dance forms. The most fascinating of all the ‘Alasa Kanya’ an expression of relaxation which can be seen in the middle of the wheel is a magnificent example of sculpture.
The highest expression of Odissi dance is there in the ‘Nayika Bhava’ (नायिका भाव) in the corners of Ananta Vasudeva Temple at Bhubaneswar. Here different ‘Nayika Bhavas’ such a Mugdha (मुग्ध), Vidagdha (विदग्ध), etc., are seen with full ‘bhava’ (भाव) and ‘rasa’ (रस). There are other evidences in stone.
Living Evidences: History provides evidence of the practice of dedicating dancing girls to the temples, in honour of the gods. The practice was in vogue at one time throughout India. Devadasis (देवदासियां) or dancing girls dedicated to the gods, were attached to the temples in Kashmir, Bengal, Odisha, Gujarat, Rajasthan, Maharashtra, Andhra Pradesh, Karnataka, Tamil Nadu and Kerala. The institution of Devadasis is now extinct everywhere except in Odisha.
Devadasis in Odisha are known as ‘maharis’, meaning ‘mahat naris’ (महत नारी). The earliest mention of the devadasis attached to the temples is found in the 9th century A.D., where inscription states that Kolavati, the queen of the Kesari king Uddyota, built a temple of Lord Shiva and dedicated dancing girls. Thereafter the Ganga dynasty came to power.Chodagangadeva ruled from 1077 AD to 1 147 AD and built the temple of Lord Jagannath at Puri having employed Devadasis. After Chodagangadeva's death, Anangabhima Deva came to power and built many temples and also built the Natamandira (नटमंदिर) in the Jagannath Temple.
It was intended for the performance of the Maharis and musicians, in honour of the Lord. Maharis are of two kinds — 'Bhitara gani maharis’ and ‘Bahara gani maharis'. The Bhitara gani maharis alone are allowed to enter the Bada Deula of the Sanctum Sanctorum. They sing during Bada Sinhara. The ‘Bahara gani maharis’ are not permitted to enter the innermost sanctum of the temple. They dance in the Natamandira. Devadasis or maharis were the only ones who kept this dance tradition alive through generations. The maharis attached to the Jagannath Temple were all Vaishnavites and the maharis at Bhubaneswar were attached to Shaivite temple. While at Jhankada and Kakatapur maharis were dedicated to Shakti.
In the copperplate inscription of Purushottama Deva it is mentioned that there were Sampradayas (सम्प्रदाय) of Nachunis, one of them was from the south and the other from Odisha. They used to dance in tune with Jayadeva's “Gitagovinda” (गीतगोविन्द).
Before the Gitagovinda was introduced, the maharis used to dance only the Nritya (नृत्य) (rhythmic) portion and the ‘abhinaya’ (अभिनय) with ‘mantras’ (मंत्र - hymn). But after Jayadeva's “Gitagovinda” became a part and parcel of the rituals, the ‘maharis’ performed ‘abhinaya’ with different ‘bhavas’ and ‘rasas’.
Contribution of Ray Ramananda: Another exponent of Odissi Dance is Ray Ramananda who was a musician, dancer, and a dramatist. He taught dancing to some boys and performed his dance drama Jagannatha Vallabha Nataka, before Lord Chaitanya and convinced Him that singing and dancing are also forms of prayer. Then we find that the Gotipua system has been introduced since the Vaisnavite followers did not approve of dancing by women. The boys dressed as girls began to dance and for the first time, Odissi came out of the temples and began to be performed in public. During this period, Vaishnava poets composed innumerable lyrics dedicated to Lord Krishna and the Vaishnavas chose this dance of Gotipua as a medium for the publicity of their cult. In the Gotipuas system as opposed to the other forms, one can find a jerky movement in place of the smooth transitions from one movement to the other. Odissi includes both ‘Tandav’ and ‘Lasya’ elements. Sabdasvarapata (शब्दस्वरापात) and Bandha Nritya (बँधा नृत्य) are parts of the Tandav style and these exist in a crude form in some remote places and need a good deal of refinement.
Constituents of Odissi Dance: The dance is based on the technique laid down in Bharata's Natyashastra, Nandikeswari's Abhinaya Darpana and Maheswar Mahapatra's Abhinaya Chandrika. The main pose of this dance is Tribhangi followed by Atibhangi, Adabhanga and Abhanga. The Odissi Dance follows, the mudra, caris, mandala, karana, Sirabheda, Drustibheda, Grivabheda, Katibheda, Rasa and Bhava, according to the Shastras. Among the innumerable ‘bhangis’ described in Abhinaya Chandrika, some are very traditional and are not seen in any other form of dancing such as Mardala, Parsvamardala, Abhimana, Shivakara, etc.. Like Bharata Natyam and Kathakali, Odissi has a rich variety of ‘mudras’ which is based on Natyashastra, Abhinaya Darpana and Abhinaya Chandrika. There are some other traditional ‘mudras’ which are not mentioned in any of these satras. They are Gavaksa, Vana, Pechakamukha, Valaya, Tambula, etc.
Odissi Dance is equipped with the Nav Taal (नव ताल) system. These are: Jhampa (7 beats), Dhruva (14 beats — In the Odissi dance it is Sariman Taal), Matha (10 beats), Rupaka (6 beats), Tripata (7 beats), Atta (12 beats — In the dance it is known as Kuduka), Ekatali (4 beats), Adatali (7 beats) and Jhoola (6 beats). Apart from these ‘talas’, there are certain other ‘talas’ named ‘Nisari’ and ‘Uati’ Taal. A unique ‘chhanda’ (छंद) rhythm is also found in the Odissi system, i.e., Jhoola, which is seldom seen in any other form of dancing or music. These ‘talas’ may vary according to different ‘jatis’ — such as ‘tryasra’, ‘caturasra’ , ‘misra’, ‘Khanda’ and ‘Sankima’.
Odissi embraces Nritya (नृत्य) and Natya (नाट्य) in the different items of its repertoire which is as follows:
Mangalacharana (मंगलाचरण): This is a dance in which the dancer dedicates herself to the Lord and begs forgiveness of the mother earth for stamping her feet on her, apologises to the audience for any shortcomings and at last, offers salutations to the Guru. This item is divided into three parts: Bhumi Pranam (भूमि प्रणाम), Dev / Devi (देव / देवी) Stuti (स्तुति), and Sabha Pranam (सभा प्रणाम).
(Batu) Stheyee Nritya: This is an item of pure Nritta. It begins with a series of sculpturesque poses like veena, drum, flute, cymbal, etc. There is no theme or ‘abhinaya’ except uttering of syllables.
Pallavi:Pallavi means elaboration. The movement of this dance is extremely graceful and lyrical. This is accompanied by both music and rhythm. Music and rhythm are given equal importance with the dance proper. A tune in some ‘raga’ is sung and is developed through different variations. ‘Sargani’ may or may not be added. Bols with rhythmic syllables come in between to enrich the beauty of the item. A number of passages of Nritta are performed with stylised poses and movements. This item brings out an exceedingly intricate interwoven rhythmic pattern of very graceful and lyrical movement.
Abhinaya: This is done through facial expression depicting ‘rasa’ and ‘bhava’ with the help of different ‘hastas’ (meaning hands) and action to bring out the meaning and mood of the songs. The dancer turns song into picture of graceful movements. No performance is complete without the performance of an ‘ashtapadi’ (अष्टपदी) from Jayadeva's “Gita Govinda”. Songs from the poets Banamali, Kavisamrat Upendra Bhanja, Kavisurya Baladva Rath, Gopal Krishna, etc., are performed by depicting the various moods.
Moksha Nritya: It is the last item performed. This is an item of pure Nritta and is performed in a fast tempo to the accompaniment of rhythmic syllables. The dancer becomes ecstatic and through the ecstasy, the dancer's mind and soul merge with god. Dance, thus considered, is an effort to come near God and experience true happiness (Moksha - मोक्ष).