{"id":269,"date":"2017-10-02T17:48:29","date_gmt":"2017-10-02T14:48:29","guid":{"rendered":"http:\/\/disco.teak.fi\/asia\/?p=269"},"modified":"2021-10-19T14:24:17","modified_gmt":"2021-10-19T11:24:17","slug":"orissi-solo-dance-style-of-orissa","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/asia\/orissi-solo-dance-style-of-orissa\/","title":{"rendered":"<em>Orissi<\/em>, Solo Dance Style of Orissa"},"content":{"rendered":"<p><i>Orissi<\/i> (also <i>odissi<\/i>) is the <i>lasya<\/i>-style solo dance from the eastern state of Orissa. Like <i>bharatanatyam<\/i>, its technique stems directly from the ancient <i>Drama Manual<\/i>, the <i>Natyashastra<\/i>. However, there are slight differences between these two styles.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-269 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in094.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in094.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-1035\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1035'>\n\t\t\t\tOrissi is the form of <em>lasya<\/em> from the eastern state of Orissa <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>Where <i>bharatanatyam<\/i> emphasises symmetry, <i>orissi<\/i> places more emphasis on curved poses, jumps, as well as hip deflections, which are rather rare in the other classical solo forms. The present form of <i>orissi<\/i> is a fruit of the Vishnu <i>bhakti<\/i> movement of the region, which is also strongly reflected in its repertoire.<\/p>\n<h2>Its History<\/h2>\n<p>There seems to be a consensus that <i>orissi<\/i> is an eastern regional variety of the <i>lasya-<\/i>type dances mentioned in the <i>Natyashastra<\/i>. There exists sculptural evidence in a Buddhist cave temple in Orissa from the 2<sup>nd<\/sup> century BC, which shows dancers in poses almost similar to those of today\u2019s <i>orissi<\/i>.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-269 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in095.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in095.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-1036\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-1036'>\n\t\t\t\tThe medieval temples of Orissa preserve many dance-related reliefs. Below is the flute-playing Krishna, to whom many of the dances are dedicated. Above is a dancer with a strongly bent body, a feature typical of <em>orissi<\/em> even today <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>From the period of the 7<sup>th<\/sup> century AD onwards, when Orissa came under Hindu influence, much more written as well as visual evidence exists to throw light on the history<i> of orissi<\/i>. The magnificent medieval Hindu temples of the region are full of dance reliefs. From the later medieval period, from approximately the 15th to the 17<sup>th<\/sup> centuries, <i>orissi<\/i> manuals are also available.<\/p>\n<p>In content and even in style <i>orissi<\/i> is strongly influenced by the Vishnu <i><a href=\"http:\/\/disco.teak.fi\/asia\/the-drama-proper\/\">bhakti<\/a><\/i> movement, which started to flourish in the region from the 8<sup>th<\/sup> century onwards. The widespread <i>bhakti<\/i> poem, the <i><a href=\"http:\/\/disco.teak.fi\/asia\/the-drama-proper\/\">Gita Govinda<\/a><\/i>, was written by a local poet, Jayadeva. Thus the <i>Gita Govinda<\/i> with its Kirishna-Radha theme became an important source for the <i>abhinaya<\/i> sections or <i>orissi<\/i>.<\/p>\n<p>In the big temple complexes, <i>orissi<\/i> was practised by the <i>devadasis<\/i>, or the female temple servants. However, there was also a temple tradition in which male dancers, dressed as women, performed it. In fact, the tradition of male dancers is rather strong in the <i>orissi<\/i> tradition even today.<\/p>\n<h2>The Technique<\/h2>\n<p>As already mentioned above, technically <i>orissi<\/i> shares a great deal with <i>bharatanatyam<\/i> and the other <i>lasya<\/i> forms simply because they are all offspring of the same ancient tradition. However, the frequent <i>tribhanga<\/i> (thrice bent) standing positions and hip deflections are characteristic of <i>orissi<\/i>, as are curved and sometimes relaxed extensions of the upper body. All these tend to give <i>orissi<\/i> a kind of sensuous quality, not so prominent in the more strict and symmetric style of <i>bharatanatyam.Orissi<\/i> also employs more elevations, jumps and floor positions.<\/p>\n<h2>The Repertoire<\/h2>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-269 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in096.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in096.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-1037\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-1037'>\n\t\t\t\tThe opening prayer of an <em>orissi<\/em> recital <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>As in <i>bharatanatyam<\/i> and the other forms of<i> lasya<\/i>, the present repertoire of <i>orissi<\/i> consists of short numbers including <i>abhinaya<\/i> mime and pure <i>nrtta<\/i> dance sequences. The performance is preceded by <i>bhumi pranam<\/i>, which venerates the earth and the ground on which the performance takes place.<\/p>\n<p>The first actual number is <i>batu nritya<\/i>, a demanding dance, which introduces the whole technical range of <i>orissi<\/i>. Then follows <i>ista devata vandana<\/i>, an <i>abhinaya<\/i> number telling about the deeds of one particular deity, chosen by the dancer.<\/p>\n<p>All the above numbers are accompanied by rhythm only. They are followed by a pure <i>nrtta<\/i> dance, <i>swara pallawi<\/i>, in which a <i>raga<\/i>-based melody is gradually introduced. Then follow one or more <i>gitabhinayas<\/i>. Like the <i>padams<\/i> of <i>bharatanatyam<\/i>, these <i>abhinaya<\/i> numbers are based on sung poems dealing with love and longing. In <i>orissi<\/i> they are often based on the verses of Jayadeva\u2019s ecstatic <i>Gita Govinda<\/i>.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-269 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in097.jpg'><img width=\"600\" height=\"369\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in097.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-4-1038\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-1038'>\n\t\t\t\tA modern group choreography based on the <em>orissi<\/em> technique <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Like <i>tillana<\/i>, <i>bharatanatyam\u2019s<\/i> final dance, the <i>orissi<\/i> repertoire\u2019s last big number, <i>tarajan<\/i>, is also a virtuosic abstract <i>nrtta<\/i> dance. The Orissi repertoire went through several changes at the end of the 20<sup>th<\/sup> century. New poems and music were introduced, and now the performance often ends with <i>mokshya<\/i>, a dance illustrating the final salvation of a human soul.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Orissi (also odissi) is the lasya-style solo dance from the eastern state of Orissa. Like bharatanatyam, its technique stems directly from the ancient Drama Manual, the Natyashastra. However, there are slight differences between these two styles. Where bharatanatyam emphasises symmetry, orissi places more emphasis on curved poses, jumps, as well as hip deflections, which are [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":2375,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[13],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/269"}],"collection":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/comments?post=269"}],"version-history":[{"count":7,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/269\/revisions"}],"predecessor-version":[{"id":3146,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/269\/revisions\/3146"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media\/2375"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media?parent=269"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/categories?post=269"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/tags?post=269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}