A Dance of the Soul: The Saga of Odissi
– Aarushi Patnaik
FY BSc Economics (2024-28)
Estimated Reading Time ~ 5 minutes
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A tapestry woven with sacred traditions, artistic evolutions, and cultural resilience.
In the sacred temples of Odisha, the Maharis were more than dancers; they were the soul of Odissi’s devotional essence. These women, revered for their spiritual purity, were seen as the “wives of the deity,” their lives dedicated to serving the divine through their art. Picture them in the soft glow of temple lamps, their movements a prayer in motion, every flick of the wrist, every measured step, brimming with devotion.
Through their dances, the Maharis wove stories of Krishna’s playful rasalila, Radha’s eternal love, and the evocative verses of the Gita Govinda by Jayadeva, the 12th-century Sanskrit poet whose works pulse at the heart of Odissi. Their performances weren’t mere spectacles; they were sacred offerings, a bridge between the earthly and the divine, where every rhythm honored the gods and carried the weight of centuries of faith.
The roots of Odissi stretch deep into history, with its earliest mentions found in the Natyashastra by Bharata, written around 200 BCE, a timeless treatise that lays the foundation for Indian classical dance. But Odissi’s most vivid stories are etched in stone, immortalized in the ancient temples of Odisha.
Imagine standing before the grandeur of the Jagannath Temple in Puri or the Sun Temple in Konark, their walls alive with carved dancers. Each figure, frozen mid-pose, seems to whisper tales of devotion and artistry, their bodies curving in the graceful tribhanga stance, a signature of Odissi. These aren’t just decorative carvings; they’re living manuals, capturing the essence of a dance form so profound that centuries later, they became a blueprint for its revival. Through these sculptures, you can almost feel the spiritual energy and intricate gestures (mudras) that once brought divine stories to life.
As the Mahari tradition faded during the turbulence of the medieval period, a new light emerged to keep Odissi alive, the Gotipuas. Picture young boys, their faces adorned with delicate makeup and dressed in flowing garments, stepping into the roles once held by the Maharis. Trained in the intricate art of Odissi, they carried its stories and spirit beyond temple walls, performing in village squares and at bustling festivals.
Source: Earthstoriez
Though their stage lacked the sacredness of temples, the Gotipuas became guardians of a legacy, blending the classical grace of Odissi with the vibrant pulse of folk traditions. They even added daring acrobatic moves, a touch of innovation that still distinguishes the form today. In a time when cultural expression faced suppression, these young performers didn’t just keep Odissi alive, they made it thrive, ensuring its rhythms and stories would echo through generations.
The 18th and 19th centuries brought a wave of upheaval for India’s classical dance forms, including Odissi, as colonial powers reshaped the cultural landscape. With the British establishing control, traditional arts became targets of disdain, treated with contempt rather than respect. Odissi, once a sacred offering, was reduced to ridicule, and the dancers who embodied its divine grace faced growing prejudice.
The Devadasi culture, deeply intertwined with these dance traditions, bore the brunt of this societal shift. Christian missionaries, viewing these practices through a narrow lens, launched an anti-dance movement in 1892, branding the art as immoral. By 1910, the Madras Presidency under British rule went so far as to ban temple dancing, cutting off a vital spiritual and cultural lifeline.
For the dancers, the consequences were devastating. Stripped of their dignity, they were also economically suppressed, as their patrons were pressured to withdraw financial support. What had once been a revered tradition became a stigmatized practice, leaving the artists and their heritage struggling to survive under the weight of colonial disdain.
Source: Narthaki
The economic strain faced by dancers during British colonial rule was a direct result of systemic efforts to dismantle the support structures that had sustained classical dance traditions for centuries. Historically, temple dancers like the Maharis and Devadasis were supported by temple patronage, which included financial contributions from kings, wealthy landlords, and local communities. This patronage was integral not only to the dancers’ livelihoods but also to the preservation of their art.
However, as colonial policies undermined traditional systems, temples lost their status as cultural and economic hubs. Land reforms and taxation imposed by the British further weakened the financial standing of temples, stripping them of resources that had once been used to support the arts. Christian missionaries and British officials actively discredited the dancers, portraying them as morally corrupt and urging patrons to withdraw their funding.
By the early 20th century, anti-dance movements and laws like the 1910 ban on temple dancing in the Madras Presidency dealt a final blow. With no access to temple funds or support from wealthy patrons, dancers found themselves in dire financial straits. Many were forced to abandon their art and seek alternative livelihoods, leading to a decline in the practice and transmission of classical dance forms like Odissi. This economic suppression not only impoverished the artists but also threatened the survival of an entire cultural heritage.
As the Indian freedom movement gained momentum in the early 20th century, a wave of cultural revival swept through the country. In the face of colonial repression, many in the Indian community began to push back, determined to restore the nation’s cultural pride. Classical arts, including Odissi, became a focal point of this resurgence, as people sought to reclaim and preserve their rich heritage.
Among those leading this charge was Kavichandra Kalicharan Pattanayak, an Oriya poet, researcher, and dramatist, whose passion for Odissi went beyond simple revival. He not only worked tirelessly to breathe life back into the dance form but also gave it its name, ‘Odissi,’ drawing attention to its origins in Odisha. Pattanayak’s efforts were part of a larger movement to rejuvenate India’s classical traditions, reminding the world of the profound cultural wealth that lay within its borders. His work was a testament to the power of art in the fight for identity and independence.
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Odissi played a pivotal role in the upliftment of women, especially through the Mahari tradition, where women, revered as spiritual conduits, performed sacred dances in temples, gaining respect and social stature. This unique role allowed them to transcend the limitations of traditional gender roles, as their dances were seen as divine offerings, granting them public reverence and a respected place in society. Over time, the revival of Odissi in the 20th century empowered women to become both performers and cultural ambassadors, giving them financial independence, creative freedom, and a platform for leadership.
Woven with the magic of the perfect rhythm, taal, laya and beauty of its performers, Odissi is a dance form depicting the common man’s love and adoration towards its deity and most of all a spellbound artistic creation that speaks for the people and to the people in the most elegant and delicate manner for many years now.
It is poetry narrated through hands and legs.