Odissi, is the traditional dance form of Orissa and owes its origin to the temple dances of the devadasis (temple dancers). Possibly, the oldest classical dance form in the country, Odissi has been mentioned in inscriptions, depicted on scultures, in temples like the Brahmeswara and the dancing hall of the Sun Temple at Konark. In the 1950s, the entire dance form was revitalised thanks to the Abhinaya Chandrika and sculpted dance poses found in temples. While the form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath. Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing movements to express specific moods and emotions.

Style

There are a number of characteristics of the Odissi dance. The style may be seen as a conglomeration of aesthetic and technical details. One of the most characteristic features of Odissi dance is the Tribhangi. The concept of Tribhang divides the body into three parts, head, bust, and torso. Any posture which deals with these three elements is called tribhangi. This concept has created the very characteristic poses which are more contorted than found in other classical Indian dances. The mudras are also important. The term mudra means "stamp" and is a hand position which signifies things. The use of mudras help tell a story in a manner similar to the hula of Hawaii.

Themes

The themes of Odissi are almost exclusively religious in nature. They most commonly revolve around Krishna. Although the worship of Krishna is found throughout India, there are local themes which are emphasised. The Ashtapadi's of Jayadev are a very common theme.

Music

The musical accompaniment of Odissi dance is essentially the same as the music of Odissa itself. There are various views on how the music of the Odissi relates to the music of greater North India. It is usually considered just another flavour of Hindustani sangeet, however there are some who feel that Odissi should be considered a separate classical system. There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. One difference is that the right head is a bit smaller than the usual north Indian pakhawaj. This necessitates a technique which in many ways is more like that of the tabla, or mridangam. Other instruments which are commonly used are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura. There was a move to classify Odissi as a separate classical system. This movement is generally considered to have failed for a number of reasons. The general consensus is that traditional Orissi singers and musicians have been so influenced by Hindustani concepts that they are unable to present the music in its "original" form. There is a peculiar irony to this movement. Had they succeeded in having Odissi music declared to be a separate system, then it would be hard to justify calling it classical. It would fail to achieve any level, of ethnic transcendence and would essentially be reduced to the level of a "traditional" art form.