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==Repertoire==
==Repertoire==
[[File:Sitara Thobani Odissi classical dance mudra India (16).jpg|thumb|An Odissi dancer in ''nritya'' (expressive) stage of the dance.]]
[[File:Sitara Thobani classical dance mudra India (16).jpg|thumb|An h dancer in ''nritya'' (expressive) stage of the dance.]]
Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odissi performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.
Odishee, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odishee performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odis repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odishee is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.


Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros (''Shringara'') in its dance arts such as in Odissi, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/>
Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krushna-related literature, and as longing eros (''Shreengara'') in its dance arts such as in Odishee, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/>


The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}}
The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odishee are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}}
*The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=207-214}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref>
*The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=207-214}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref>
*The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} In a ''nritya'', the dance-acting expands to include silent expression of words through the [[sign language]] of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/>
*The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} In a ''nritya'', the dance-acting expands to include silent expression of words through the [[sign language]] of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/>


===Sequence===
===Sequence===
Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref>
Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannatha (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranama'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranama'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref>


[[File:Mrutyuh.jpg|thumb|Odissi Dance Drama]]
[[File:Mrutyuh.jpg|thumb|Odissi Dance Drama]]
The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}}
The next sequential step in an Odishee performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}}


The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Oriya songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krishna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}}
The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odishee is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Odia songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krushna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}}


The ''natya'' part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.{{Sfn|Kapila Vatsyayan|1974|pp=35-37}}
The ''natya'' part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.{{Sfn|Kapila Vatsyayan|1974|pp=35-37}}


A distinctive part of the Odissi tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/>
A distinctive part of the Odishee tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/>


=== Basic moves and mudras ===
=== Basic moves and mudras ===
The basic unit of Odissi are called ''bhangas''. These are made up of eight ''belis'', or body positions and movements, combined in many varieties.{{sfn|Reginald Massey|2004|pp=210-212}} Motion is ''uthas'' (rising or up), ''baithas'' (sitting or down) or ''sthankas'' (standing).{{sfn|Reginald Massey|2004|pp=210-212}} The gaits or movement on the dance floor is called ''chaalis'', with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, ''burhas'' or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.{{sfn|Reginald Massey|2004|pp=210-212}} The foot movement or ''pada bhedas'' too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.{{sfn|Reginald Massey|2004|pp=210-212}}
The basic unit of Odissi are called ''bhangas''. These are made up of eight ''belis'', or body positions and movements, combined in many varieties.{{sfn|Reginald Massey|2004|pp=210-212}} Motion is ''uthas'' (rising or up), ''baithas'' (sitting or down) or ''sthankas'' (standing).{{sfn|Reginald Massey|2004|pp=210-212}} The gaits or movement on the dance floor is called ''chaalis'', with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, ''burhas'' or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.{{sfn|Reginald Massey|2004|pp=210-212}} The foot movement or ''pada bhedas'' too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.{{sfn|Reginald Massey|2004|pp=210-212}}


The three primary dance positions in Odissi are:<ref name="NettlStone1998p520 "/>
The three primary dance positions in Odishee are:<ref name="NettlStone1998p520 "/>
*''Samabhanga'' – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent.
*''Samabhanga'' – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent.
*''Abhanga'' – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways.
*''Abhanga'' – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways.
*''Tribhanga'' – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but ''tribhanga'' postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<ref name="NettlStone1998p520 "/>
*''Tribhanga'' – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but ''tribhanga'' postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<ref name="NettlStone1998p520 "/>


''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/>
''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odishee is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/>
* Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.)
* Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.)
* Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.)
* Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.)
* Nrutya Hasta – “Pure Dance” Mudras
* Nrutya Hasta – “Pure Dance” Mudras


The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref>
The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshawara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref>


===Costumes===
===Costumes===
[[File:The Odissi Costume - Dipanwita Roy.jpg|thumb|right|alt=The Odissi costume.|The Odissi costume]]
[[File:The Odissi Costume - Dipanwita Roy.jpg|thumb|right|alt=The Odissi costume.|The Odissi costume]]
The Odissi dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odissi dancers are brightly coloured, and usually of local silk (''Pattasari'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}}
The Odishee dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odishee dancers are brightly coloured, and usually of local silk (''Pattashadhee'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}}


The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoot'' with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref>
The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoota'' with peacock feathers (symbolism for Lord Krushna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref>


Ear covers called ''Kapa'' or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called ''Bahichudi'' or ''Bajuband'', on the upper arm. The wrist is covered with ''Kankana'' (bangles).<ref name="Patnaik1990p115"/> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (''ghungroo'').<ref name=gaston81/> The dancer's palms and soles may be painted with red coloured dye called the ''[[Alta (dye)|Alta]]''.<ref name="Patnaik1990p115"/>
Ear covers called ''Kapa'' or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called ''Bahichudi'' or ''Bajuband'', on the upper arm. The wrist is covered with ''Kankana'' (bangles).<ref name="Patnaik1990p115"/> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (''ghungroo'').<ref name=gaston81/> The dancer's palms and soles may be painted with red coloured dye called the ''[[Alta (dye)|Alta]]''.<ref name="Patnaik1990p115"/>


Modern Odissi male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}}
Modern Odishee male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}}


=== Music and instruments ===
=== Music and instruments ===
{{Main|Odissi music}}
{{Main|Odissi music}}


Odissi dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref>
Odishee dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref>


Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}}
Odishee dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}}


An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" />
An Odishee troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" />


[[File:Odissi group performance.jpg|thumb|Odissi group performance]]
[[File:Odissi group performance.jpg|thumb|Odissi group performance]]


===Styles===
===Styles===
The Odissi tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'':
The Odishee tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'':


* ''Maharis'' were Oriya [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/>
* ''Maharis'' were Odia [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/>
* ''Gotipuas'' were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<ref name="KothariPasricha1990p49"/>
* ''Gotipuas'' were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<ref name="KothariPasricha1990p49"/>
* ''Nartaki'' dance took place in the royal courts, where it was prevalent before the British period.<ref>Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in ''The Archaeology of Ritual'' ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</ref><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=84–85}}</ref>
* ''Nartaki'' dance took place in the royal courts, where it was prevalent before the British period.<ref>Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in ''The Archaeology of Ritual'' ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</ref><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=84–85}}</ref>

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'{{short description|One of the major classical dances of India}} {{Use British English|date=March 2013}} {{Use dmy dates|date=March 2013}} [[File:Odissi_Performance_DS.jpg|thumb|Odishee is a classical dance that originated in [[Odisha]], [[India]]]] '''Odishee''' ([[Odia language|Odia]]: {{transl|or|ISO|ଓଡ଼ିଶୀ}}), also referred to as '''Odishee''' in older literature, is a major ancient [[Indian classical dance]] that originated in the [[Hindu temple]]s of [[Odisha]] – an eastern coastal state of [[India]].<ref name=britannicaodis>[https://www.britannica.com/art/odissi Odissi] ''Encyclopædia Britannica'' (2013)</ref>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Chhau, Satriya, Yaksagana and Bhagavata Mela}}<ref>{{cite web |title=Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar|url=http://sangeetnatak.gov.in/sna/guide-snaawards.htm |access-date=6 November 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131014000750/http://sangeetnatak.gov.in/sna/guide-snaawards.htm |archive-date=14 October 2013 }}</ref> Odishee, in its history, was performed predominantly by women,<ref name=britannicaodis/><ref name="Claus2003p136">{{cite book|author1=Peter J. Claus|author2=Sarah Diamond|author3=Margaret Ann Mills|title=South Asian Folklore: An Encyclopedia|url= https://books.google.com/books?id=ienxrTPHzzwC |year=2003|publisher=Routledge |isbn= 978-0-415-93919-5 |pages=136 }}</ref> and expressed [[religious]] stories and spiritual ideas, particularly of [[Vaishnavism]] (Vishnu as [[Jagannatha]]). Odishee performances have also expressed ideas of other traditions such as those related to Hindu gods [[Shiva]] and [[Surya]], as well as Hindu goddesses ([[Shaktism]]).<ref name="KothariPasricha1990p41">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=4–6, 41 }}, '''Quote:''' "There are other temples too in Odisha where the ''maharis'' used to dance. Besides the temple of Lord Jagannatha, ''maharis'' were employed in temples dedicated to Shiva and Shakti."</ref> The theoretical foundations of Odishee trace to the ancient Sanskrit text ''[[Natya Shastra]]'', its existence in antiquity evidenced by the dance poses in the sculptures of Odishee Hindu temples,<ref name=britannicaodis/><ref name="Lochtefeld2002p483">{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: N-Z|url=https://books.google.com/books?id=g6FsB3psOTIC |year=2002| publisher=The Rosen Publishing Group |isbn=978-0-8239-3180-4 |pages=484–485 }}</ref> and archeological sites related to [[Hinduism]], [[Buddhism]] and [[Jainism]].<ref name= Schechner65>{{cite book|author=Richard Schechner |title=Between Theater and Anthropology |url=https://books.google.com/books?id=DoEaulAxbu8C&pg=PA65 |year=2010|publisher=University of Pennsylvania Press |isbn=978-0-8122-0092-8 |pages=65–66}}</ref><ref name=kyriakidis155/><ref name="KothariPasricha1990p12">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=9–10, 12}}, '''Quote:''' The art of dance and music suffered on account of political instability, the Muslim invasion, the desecration of the temples and the loss of independence, the lack of patronage to both the ''maharis'' and the ''gotipua'' dancers..."</ref> It was suppressed under the [[British Rule]].{{Sfn|Ragini Devi|1990|pp=47-49}}<ref name="Carter2013p145">{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=144–145 }}</ref> The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since [[India]] gained independence from the colonial rule.<ref name=kyriakidis155>{{cite book|author=Evangelos Kyriakidis|title=The archaeology of ritual|url=https://books.google.com/books?id=e34KAQAAMAAJ|year=2007|publisher=Cotsen Institute of Archaeology, University of California Press|isbn=978-1-931745-48-2|pages=155–158}}</ref> Odishee is traditionally a dance-drama genre of [[performance art]], where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the [[Hindu texts]], using symbolic costumes,<ref>{{cite book|author=Stephanie Arnold|title=The Creative Spirit: An Introduction to Theatre|url=https://books.google.com/books?id=pn1zCgAAQBAJ&pg=PA9 |year=2014|publisher=McGraw Hill |isbn=978-0-07-777389-2 |pages=9 }}</ref> body movement, ''[[abhinaya]]'' (expressions) and ''[[mudra]]s'' (gestures and [[sign language]]) set out in ancient Sanskrit literature.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=1–4, 76–77}}</ref> Classical Odia literature & the [[Gitagovinda]] set to traditional [[Odishee music]] are used for the ''abhinaya''. Odishee is learnt and performed as a composite of basic dance motif called the ''[[Tribhanga|Bhangas]]'' (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting [https://onlinebharatanatyam.com/2010/06/25/eye-movements-or-drishthi-bheda/ expression] and audience engagement with geometric symmetry and rhythmic musical resonance.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=50}}</ref><ref name="Vatsyayan1983p57">{{cite book|author=Kapila Vatsyayan|title=The square and the circle of the Indian arts|url=https://books.google.com/books?id=2sKfAAAAMAAJ|year=1983|publisher=Roli Books International|pages=57–58}}</ref> An Odishee performance repertoire includes invocation, ''nritta'' (pure dance), ''nritya'' (expressive dance), ''natya'' (dance drama) and ''moksha'' (dance climax connoting freedom of the [[Atman (Hinduism)|soul]] and spiritual release).<ref name="NettlStone1998p520 "/><ref name=aroyo267/> Traditional Odishee exists in two major styles, the first perfected by women and focussed on solemn, [[Mahari dance|spiritual temple dance (''maharis'')]]; the second perfected by [[Gotipua|boys dressed as girls (''gotipuas'')]]<ref>{{cite book|author1=Axel Michaels|author2=Christoph Wulf|title=Images of the Body in India: South Asian and European Perspectives on Rituals and Performativity|url=https://books.google.com/books?id=ui2pAgAAQBAJ&pg=PT192 |year=2012|publisher=Routledge |isbn=978-1-136-70392-8|page=192}}</ref> which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment.<ref name="Lochtefeld2002p483"/> Modern Odishee productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays.<ref>{{cite book|author=Ian Watson|title=Towards a Third Theatre: Eugenio Barba and the Odin Teatret|url=https://books.google.com/books?id=ChGGAgAAQBAJ |year=2003|publisher=Routledge|isbn=978-1-134-79755-4 |pages=xii–xiii }}</ref> Odishee was the only Indian dance form present in [[Michael Jackson]]'s 1991 hit single [[Black or White]]. {{Hinduism}} ==History== The foundations of Odishee are found in ''[[Natya Shastra]]'', the ancient Hindu Sanskrit text of performance arts.<ref name="KothariPasricha1990p32">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=32–33, 48–49, 68 }}</ref><ref name="Kuiper2010p278">{{cite book|author=Kathleen Kuiper|title=The Culture of India|url=https://books.google.com/books?id=c8PJFLeURhsC&pg=PA278 |year=2010|publisher=The Rosen Publishing Group|isbn=978-1-61530-149-2 |pages=278 }}</ref> The basic dance units described in [[Natyashastra]], all 108 of them, are identical to those in Odishee.<ref name="Kuiper2010p278"/> ''[[Natya Shastra]]'' is attributed to the ancient scholar [[Bharata Muni]], and its first complete compilation is dated to between 200&nbsp;BCE and 200&nbsp;CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500&nbsp;BCE and 500&nbsp;CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text,<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref> are a form of expression of spiritual ideas, virtues and the essence of scriptures.<ref name=mog17>{{cite web|title=The Mirror of Gesture|author=Coormaraswamy and Duggirala|publisher=Harvard University Press|year=1917|page=4|url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref> The [[Natya Shastra]] refers to four ''vrittis'' (methods of expressive delivery) in vogue – ''Avanti'', ''Dakshinatya'', ''Panchali'' and ''Odra-Magadhi''; of these, the ''Odra'' refers to Odisha.<ref name=kothari6/> More direct historical evidence of dance and music as an ancient performance art are found in archaeological sites such as caves and in temple carvings of [[Bhubaneswar]], [[Konark Sun Temple|Konark]] and [[Puri]].<ref name="Kuiper2010p278"/><ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=13–16, 31–32}}</ref> The Manchapuri cave in [[Udayagiri, Odisha|Udayagiri]] shows carvings of [[:File:Pragya Shaw at Toronto Bihu 2019.jpg|dance]] and musicians, and this has been dated to the time of [[Jainism|Jain]] king [[Kharavela]] in the first or second century BCE. The [[Hathigumpha inscription]]s, also dated to the same ruler, mention music and dance:<ref name=kothari6>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=5–6}}</ref><ref>Benudhar Patra (2008), [https://www.jstor.org/stable/41692117 Merchants, Guilds and Trade in Ancient India: An Odishan Perspective], Annals of the Bhandarkar Oriental Research Institute, Volume 89, pages 133-168</ref> <blockquote style="background-color:none;margin-right:5em;margin-left:0em;border-left:solid 6px #FFE0BB;padding:1.0em"> (he [the king]) versed in the science of the ''Gandharvas'' (i.e., music), entertains the capital with the exhibition of ''dapa'', dancing, singing and instrumental music and by causing to be held festivities and assemblies (samajas)...</p> — ''Hathigumpha inscription, Line 5'', ~ 2nd-1st century BCE<ref>[http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf Hathigumpha inscription] {{webarchive|url=https://web.archive.org/web/20160303232906/http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf |date=3 March 2016 }} South Dakota State University, Epigraphia Indica, Vol. XX (1929-30)</ref><ref>J. F. Fleet (1910), [https://www.jstor.org/stable/25189732 The Hathigumpha Inscription], The Journal of the Royal Asiatic Society of Great Britain and Ireland, (Jul., 1910), Cambridge University Press, pages 824-828</ref> </blockquote> The musical tradition of Odisha also has ancient roots. Archeologists have reported the discovery of 20-key, carefully shaped polished basalt lithophone in [[Sankarjang]], the highlands of Odisha, which is dated to about 1000 BCE.<ref>{{Cite journal|author1=P. Yule |author2=M. Bemmann |title=Klangsteine aus Orissa-Die frühesten Musikinstrumente Indiens?|journal=Archaeologia Musicalis|volume=2|issue=1 |year=1988|pages=41–50|url=http://archiv.ub.uni-heidelberg.de/savifadok/volltexte/2008/177/}}</ref><ref>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=319 }}</ref> ===Medieval era=== [[File:Odissi Dancer.jpg|thumb|297x297px|Odissi dancer]] The [[Hindu]], [[Jain]] and [[Buddhist]] archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odishee-like postures.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=13–15}}</ref><ref>DB Mishra (2006), [http://www.orissa.gov.in/e-magazine/Orissareview/may2006/engpdf/22-29.pdf Orissan Inscriptions] Odisha Review</ref> Historical evidence, states Alexandra Carter, shows that Odishee ''Maharis'' (Hindu temple dancers) and dance halls architecture (''nata-mandap'') were in vogue at least by the 9th century CE.<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=147–148 }}</ref> According to [[Kapila Vatsyayan]], the ''Kalpasutra'' of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses – such as the ''Samapada'', the ''Tribhangi'' and the ''Chuaka'' of Odishee. This, states Vatsyayan, suggests that Odishee was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text.<ref>{{cite book|author=Kapila Vatsyayan|title=Dance In Indian Painting|url= https://books.google.com/books?id=58fUibaZdGYC|year=1982 |publisher=Abhinav Publications|isbn=978-0391022362|pages=73–78 }}</ref> However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the ''Abhinaya Chandrika'' and ''Abhinaya Darpana'' provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=66–67}}</ref> It includes illustrations of the Karanãs mentioned in ''NãtyaShãstra''.{{sfn|Reginald Massey|2004|pp=210-212}} Similarly, the illustrated Hindu text on temple architecture from Odisha, the ''Shilpaprakãsha'', deals with Odia architecture and sculpture, and includes Odishee postures.<ref>{{cite book|author1=Alice Boner|author2=Sadāśiva Rath Śarmā|title=Silpa Prakasa Medieval Odishan Sanskrit Text on Temple Architecture|url=https://books.google.com/books?id=itQUAAAAIAAJ |year=1966|publisher=Brill Academic|pages=74–80, 52, 154 }}</ref> [[File:Dancing Figures.JPG|thumb|120px|left|Musician and dancer relief at the Konark Sun temple.]] Actual sculptures that have survived into the modern era and panel [[relief]]s in Odia temples, dated to be from the 10th to 14th century, show Odishee dance. This is evidenced in [[Jagannatha temple]] in [[Puri]], as well as other temples of [[Vaishnavism]], [[Shaibism]], [[Shaktism]] and Vedic deities such as [[Surya]] (Sun) in Odisha.<ref name="KothariPasricha1990p41"/> There are several sculptures of dancers and musicians in [[Konark Sun Temple]] and [[Brahmeswara Temple]] in [[Bhubaneswar]].<ref name=britannicaodis/><ref name="Lochtefeld2002p483"/> The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired ''Gitagovinda'' by 12th century Jayadeva influenced the focus and growth of modern Odishee.<ref name="Verma2011p43">{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ&pg=PA43 |year=2011|publisher=Cambridge Scholars Publishing|isbn=978-1-4438-2832-1 |pages=43–57 }}</ref> Odishee was performed in the temples by the dancers called ''Maharis'', who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.<ref name="KothariPasricha1990p41"/><ref name="Verma2011p43"/> ===Mughal and British period=== After 12th-century, Odia temples, monasteries and nearby institutions such as the [[Puspagiri]] in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists.<ref name="Carter2013p145"/> The official records of Sultan Firuz Shah Tughlaq's invasion in [[Odisha]] (1360{{ndash}}1361 CE), for example, describe the destruction of the [[Jagannath temple]] as well as numerous other temples, defacing of dancing statues, and ruining of dance halls.<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=68–69 }}</ref> This led to a broad decline in Odishee and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts.<ref name="Carter2013p145"/> During the Sultanate and Mughal era of [[India]], the temple dancers were moved to entertain the Sultan's family and courts.<ref>{{cite book|author=Stephanie Burridge|title=Shifting sands: dance in Asia and the Pacific|url=https://books.google.com/books?id=Mm8NAQAAMAAJ|year=2006|publisher=Australian Dance Council|isbn=978-1-875255-15-3|page=32}}</ref> They became associated with [[concubinage]] to the nobility.{{citation needed|date=August 2016}} [[File:Odissi is a classical Indian dance that originated in Odisha, India.jpg|thumb|A male Odissi dancer]] The Odishee dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage.<ref name=carter148/> This expansion integrated martial arts (''akhanda'') and athletics into Odishee dance, by engaging boys and youth called ''Gotipuas'', as a means to physically train the young for the military and to resist foreign invasions.<ref name=carter148>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=148–149 }}</ref> According to Ragini Devi, historical evidence suggests that the ''Gotipuas'' tradition was known and nurtured in the 14th century, by Raja of Khordha.{{Sfn|Ragini Devi|1990|p=142}} During the [[British Raj]], the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odishee and other Hindu temple dance arts.<ref name="Carter2013p145"/><ref name=marysnodgrass166>{{cite book|author=Mary Ellen Snodgrass|title=The Encyclopedia of World Folk Dance|url=https://books.google.com/books?id=DMGpDAAAQBAJ |year=2016|publisher=Rowman & Littlefield |isbn=978-1-4422-5749-8 |pages=165–168 }}</ref><ref name="Walker2016p94">{{cite book|author=Margaret E. Walker|title=India's Kathak Dance in Historical Perspective|url=https://books.google.com/books?id=nC83DAAAQBAJ&pg=PA94|year=2016|publisher=Routledge |isbn=978-1-317-11737-7 |pages=94–98 }}</ref> In 1872, a British civil servant named William Hunter watched a performance at the Jagannatha temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".<ref name="Alexandra Carter 2013 145–146">{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=145–146 }}</ref> Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms.<ref name=marysnodgrass166/> The dancers were dehumanized and stigmatized as prostitutes during the [[British India|British period]].<ref name=amritsri73>{{cite journal|title=The Hindu Temple-dancer: Prostitute or Nun? |author= Amrit Srinivasan|journal= The Cambridge Journal of Anthropology|volume= 8| number= 1 |year =1983| pages= 73–99|jstor=23816342}}</ref><ref name=leslieorr8>{{cite book|author=Leslie C. Orr|title=Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu|url=https://books.google.com/books?id=F___xKcP8lMC |year=2000|publisher=Oxford University Press|isbn=978-0-19-535672-4|pages=5, 8–17}}</ref> In 1910, the British colonial government in India banned temple dancing,<ref name=pallabinilan30>{{cite book|author1=Pallabi Chakravorty|author2=Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=KQly7wn0C5sC&pg=PA30 |year=2012|publisher=Routledge|isbn=978-1-136-51612-2 |pages=30 }}</ref> and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.<ref name=carter148/> ===Post-independence=== The temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of [[India]], including Odishee.<ref name=marysnodgrass166/><ref name="Walker2016p94"/><ref name="Alexandra Carter 2013 145–146"/> Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism.<ref name=craine420>{{cite book|author1=Debra Craine|author2=Judith Mackrell|title=The Oxford Dictionary of Dance|url=https://books.google.com/books?id=42g8Hp-xA48C |year=2010|publisher=Oxford University Press |isbn=978-0199563449 |pages=420 }}</ref> Odishee, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Odia poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odishee".<ref name="Carter2013p145"/><ref>{{cite journal|author=David Dennen |url=https://www.academia.edu/2577115 |title=The Naming of Odissi: Changing Conceptions of Music in Odisha|journal=Ravenshaw Journal of Literary and Cultural Studies (Vol. 3) }}</ref> ==Repertoire== [[File:Sitara Thobani Odissi classical dance mudra India (16).jpg|thumb|An Odissi dancer in ''nritya'' (expressive) stage of the dance.]] Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odissi performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances. Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros (''Shringara'') in its dance arts such as in Odissi, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/> The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} *The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=207-214}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref> *The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} In a ''nritya'', the dance-acting expands to include silent expression of words through the [[sign language]] of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/> *The ''Natyam'' is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Natya'' incorporates the elements of a ''Nritya''.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} *The ''Mokshya'' is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and serenity in the spiritual.<ref name=aroyo267>{{cite book|author= Alessandra Royo| editor=Pallabi Chakravorty, Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=_QDgCgAAQBAJ&pg=PA267|year=2012|publisher=Routledge|isbn=978-1-136-51613-9|page=267}}</ref> Odissi dance can be accompanied by both northern Indian (Hindustani) and southern Indian (Carnatic) music, though mainly, recitals are in Odia and Sanskrit language in the [[Odissi music|Odissi Music]] tradition.<ref name="NettlStone1998p519 "/> ===Sequence=== Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> [[File:Mrutyuh.jpg|thumb|Odissi Dance Drama]] The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Oriya songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krishna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}} The ''natya'' part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.{{Sfn|Kapila Vatsyayan|1974|pp=35-37}} A distinctive part of the Odissi tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/> === Basic moves and mudras === [[File:Odissi murals in Bhubaneswar.gif|thumb|Odissi mudra murals in Bhubaneswar]] [[File:Madhumita Raut.jpg|thumb|Odissi pose at [[Konark Sun Temple]]]] The basic unit of Odissi are called ''bhangas''. These are made up of eight ''belis'', or body positions and movements, combined in many varieties.{{sfn|Reginald Massey|2004|pp=210-212}} Motion is ''uthas'' (rising or up), ''baithas'' (sitting or down) or ''sthankas'' (standing).{{sfn|Reginald Massey|2004|pp=210-212}} The gaits or movement on the dance floor is called ''chaalis'', with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, ''burhas'' or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.{{sfn|Reginald Massey|2004|pp=210-212}} The foot movement or ''pada bhedas'' too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.{{sfn|Reginald Massey|2004|pp=210-212}} The three primary dance positions in Odissi are:<ref name="NettlStone1998p520 "/> *''Samabhanga'' – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent. *''Abhanga'' – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways. *''Tribhanga'' – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but ''tribhanga'' postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<ref name="NettlStone1998p520 "/> ''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/> * Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.) * Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.) * Nrutya Hasta – “Pure Dance” Mudras The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref> ===Costumes=== [[File:The Odissi Costume - Dipanwita Roy.jpg|thumb|right|alt=The Odissi costume.|The Odissi costume]] The Odissi dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odissi dancers are brightly coloured, and usually of local silk (''Pattasari'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}} The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoot'' with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref> Ear covers called ''Kapa'' or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called ''Bahichudi'' or ''Bajuband'', on the upper arm. The wrist is covered with ''Kankana'' (bangles).<ref name="Patnaik1990p115"/> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (''ghungroo'').<ref name=gaston81/> The dancer's palms and soles may be painted with red coloured dye called the ''[[Alta (dye)|Alta]]''.<ref name="Patnaik1990p115"/> Modern Odissi male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}} === Music and instruments === {{Main|Odissi music}} Odissi dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref> Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}} An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" /> [[File:Odissi group performance.jpg|thumb|Odissi group performance]] ===Styles=== The Odissi tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'': * ''Maharis'' were Oriya [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/> * ''Gotipuas'' were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<ref name="KothariPasricha1990p49"/> * ''Nartaki'' dance took place in the royal courts, where it was prevalent before the British period.<ref>Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in ''The Archaeology of Ritual'' ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</ref><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=84–85}}</ref> == Schools, training and recognition == [[File:Kasturi Pattanaik-Photo-3.jpg|thumb|The performer is in an Odissi Dance Abhinaya, based on the popular Indian epic-Ramayan]] === Odissi maestros and performers === [[Kelucharan Mohapatra]], Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. [[Sanjukta Panigrahi]] was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, [[Kumkum Mohanty]] and [[Sonal Mansingh]], were known for their performances in India and abroad. Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival.<ref>{{cite news| url=http://www.telegraphindia.com/1100809/jsp/orissa/story_12788878.jsp | location=Calcutta, India | work=The Telegraph | title=Steps to success | date=9 August 2010}}</ref> Guru [[Mayadhar Raut]] played a pivotal role in giving Odissi dance its classical status. He introduced ''Mudra Vinyoga'' in 1955 and ''Sancharibhava'' in the Odissi dance items, and portrayed ''Shringara Rasa'' in ''[[Gita Govinda]] Ashthapadis''. His notable compositions include ''Pashyati Dishi Dishi'' and ''Priya Charu Shile'', composed in 1961.<ref>Kaktikar, A. ''Odissi Yaatra: The Journey of Guru Mayadhar Raut''. Delhi: B. R. Rhythms. 2010. {{ISBN|978-81-88827-21-3}}.</ref> Odissi and Kathak exponent and researcher Parwati Dutta has contributed towards research and revival<ref>https://www.thehindu.com/features/friday-review/dance/mystery-and-magic/article5003550.ece</ref> of lesser-known or lost aspects of Odissi like Odissi Taal system, [http://www.narthaki.com/info/articles/art364.html Vadya Pallavi] , Buddhist and Shaiva period Odissi. She has also pioneered in introducing and nurturing <ref>https://www.thehindu.com/features/friday-review/dance/taking-classical-dance-to-the-masses/article4977451.ece</ref> Odissi in Marathwada region of Maharashtra, India through [http://www.mahagami.com Mahagami Gurukul] and has introduced a complete module of learning by combining the Dance-Gurukul with a school and a University so as to cater to a range of learners and aspirants. In the evolution of Odissi Dance from its traditional format to contemporary shape, [[Kasturi Pattanaik]],<ref>https://www.thehindu.com/entertainment/music/almost-there/article27298134.ece</ref> a leading exponent of Odissi Dance, has played a major role. Through her new creations in Odissi Dance, she has left deep artistic impact in the evolution and growth of Odissi Dance.<ref>{{Cite web | url=http://www.newindianexpress.com/cities/delhi/2019/may/18/indian-dance-weekend-celebrations-1978536.html |title = Indian dance weekend celebrations}}</ref> She has introduced new concepts, new techniques and new themes in Odissi Dance repertory. Her choreographies<ref>{{Cite news | url=https://www.thehindu.com/entertainment/dance/solos-on-stage/article19180685.ece |title = Solos on stage|newspaper = The Hindu|date = 30 June 2017|last1 = Vidyarthi|first1 = Nita}}</ref> provided linkages with the evolution of Odissi Dance from its formative Mahari, Gotipua to its current version. Being an accomplished Odissi musician, she has a distinct contribution in integrating the pure Odissi music in Odissi Dance, thereby enhancing the classicality of Odissi Dance in its contemporary format. == Schools == {{State of Odisha}} Srjan (Guru [[Kelucharan Mohapatra]] Odissi Nrityabasa) is a premier Odissi dance school & training institution founded by Guru [[Kelucharan Mohapatra]] in [[Bhubaneswar]], [[Odisha]] in 1993. Now run by his son & disciple, Guru [[Ratikant Mohapatra]], Srjan is committed to preserving and popularizing the rich culture of Odissi by maintaining high standards of performance & professionalism. Regular dance classes for local students & special classes for foreigners are augmented by summer workshops, performances, new choreographies & dance and music Guru [[Kelucharan Mohapatra]] Award festival organizing since 1995. MOPA ([http://www.mopaindia.com/index.html Masako Ono Performing Arts]) was established in 2010 by International Odissi dancer [http://masakoono.com/index.html Masako Ono]. Masako started dancing at the age of 4 and in 1996 she joined NRITYAGRAM, the dance village started by the noted Odissi dancer, late [[Protima Bedi|PROTIMA GAURI BEDI]], and won a scholarship for her studies. Subsequently, she has been living in Orissa where she received further training in Odissi from GURU [[Kelucharan Mohapatra|KELUCHARAN MOHAPATRA]] and many more. She is the only Japanese Odissi dancer, an empanelled Artist of ICCR, Indian Council for Cultural Relations, Govt. of India. She has been selected as one of the 100 most respected Japanese in the world by the Newsweek Japan in 2008. === IIT Bhubaneswar === Odissi has been included in [[Indian Institute of Technology Bhubaneswar]]'s [[BTech]] syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.<ref name=TOI11September2015>{{cite news|last=Pradhan|first=Ashok|title=IIT Bhubaneswar becomes first IIT in country to introduce dance as BTech subject|url=http://timesofindia.indiatimes.com/home/education/news/IIT-Bhubaneswar-becomes-first-IIT-in-country-to-introduce-dance-as-BTech-subject/articleshow/48911403.cms|access-date=13 September 2015|publisher=Times of India|date=11 September 2015}}</ref><ref name=Hin12September2015>{{cite news|last1=Barik|first1=Satyasundar|title=IIT-Bhubaneswar to train students in Odissi too|url=http://www.thehindu.com/news/national/other-states/iitbhubaneswar-to-train-students-in-odissi-too/article7642531.ece|access-date=13 September 2015|publisher=The Hindu|date=12 September 2015}}</ref><ref name=NIE12September2015>{{cite news|title=IIT-Bhubaneswar Becomes First IIT to Introduce Odissi as a Course|url=http://www.newindianexpress.com/states/odisha/IIT-Bhubaneswar-Becomes-First-IIT-to-Introduce-Odissi-as-a-Course/2015/09/11/article3022753.ece|access-date=13 September 2015|publisher=New Indian Express|date=12 September 2015}}</ref> [[File:GWR attempt for largest Odissi Dance.jpg|thumb|160px|left|[[Guinness World Records]] on the largest Odissi dance event.]] ===In Guinness World records=== [[Guinness World Records]] has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the ''Mangalacharan, Battu, Pallavi, Abhinay'' and ''Mokshya'' dance items from the Odissi repertoire.<ref>{{cite web|url=http://newindianexpress.com/states/odisha/article335732.ece|title=Odissi dancers enter Guinness|website=newindianexpress.com|access-date=27 March 2018}}</ref><ref>[http://www.thesundayindian.com/en/story/guinness-world-records-enlists-odissi-dance-show/29065/ thesundayindian.com: Guinness World Records enlists Odissi dance show]</ref> More than 1000 Odissi dancers performed at the World Cultural Festival<ref>{{cite web|url=http://zeenews.india.com/entertainment/and-more/live-watch-art-of-living-s-world-culture-festival-2016-day-2_1864974.html|title=LIVE: Watch - Art of Living's World Culture Festival 2016 – Day 2|date=12 March 2016|website=india.com|access-date=27 March 2018}}</ref><ref>{{cite web|url=http://odishasuntimes.com/2015/12/16/sri-sri-to-visit-odisha-to-prepare-for-world-culture-festival/|title=Sri Sri to visit Odisha to prepare for World Culture Festival - OdishaSunTimes.com|last=Ayaskant|website=odishasuntimes.com|access-date=27 March 2018}}</ref> March 12, 2016. This is till date the largest congregation of Odissi dancers in a single event. ===Odissi Centre at Oxford University=== [[File:Oxford Odissi Centre.JPG|thumb|180px|[[Baisali Mohanty]] announcing the [[Oxford Odissi Centre]].]] An Odissi dance centre has been opened from January, 2016, at the [[University of Oxford]].<ref>{{cite web|url=http://www.telegraphindia.com/1160113/jsp/odisha/story_63528.jsp|title=Odissi beats to resonate at Oxford University|website=telegraphindia.com|access-date=27 March 2018}}</ref> Known as [[Oxford Odissi Centre]], it is an initiative of the Odissi dancer and choreographer [[Baisali Mohanty]] who is also a post-graduate scholar at the [[University of Oxford]].<ref>{{cite web|url=http://odishasuntimes.com/2015/12/26/odissi-centre-to-open-at-oxford-university-from-jan/|title=Odissi Centre to open at Oxford University from Jan - OdishaSunTimes.com|last=Ayaskant|website=odishasuntimes.com|access-date=27 March 2018}}</ref> Beside holding regular Odissi dance classes at its institution, the [[Oxford Odissi Centre]] also conducts Odissi dance workshops at other academic institutions in the United Kingdom.<ref>{{cite web|url=http://www.dailypioneer.com/print.php?printFOR=storydetail&story_url_key=odishi-centre-to-open-at-oxford-in-january&section_url_key=state-editions|title=The Pioneer|website=www.dailypioneer.com|access-date=27 March 2018}}</ref><ref>{{cite web|url=http://kalingatv.com/state-news/oxford-university-odissi-centre-jan/|title=Kalinga TV on Facebook|website=KalingaTV|access-date=27 March 2018}}</ref> '''University Degrees and Gurukul Training in Odissi''' MAHAGAMI GURUKUL has been offering training in Guru-Shishya tradition in Odissi since 1996 and is the first in Maharashtra state in India to offer University Degree programs in Odissi. [http://www.mahagami.com MAHAGAMI] is led by eminent Odissi and Kathak artiste Parwati Dutta who is Director of the Gurukul and Dean of [http://www.mgmu.ac.in MGM University], Performing Arts Faculty. ==See also== *[[Indian classical dance]] *[[Ghungroo]] *[[Odissi music]] *[[Gotipua]] ==References== {{reflist|30em}} ===Bibliography=== *''Odissi : What, Why and How… Evolution, Revival and Technique'', by [[Madhumita Raut]]. Published by B. R. Rhythms, Delhi, 2007. {{ISBN|81-88827-10-X}}. *''Odissi Yaatra: The Journey of Guru Mayadhar Raut'', by Aadya Kaktikar (ed. [[Madhumita Raut]]). Published by B. R. Rhythms, Delhi, 2010. {{ISBN|978-81-88827-21-3}}. *''Odissi Dance'', by Dhirendranath Patnaik. Published by Odisha Sangeet Natak Akademi, 1971. *''Odissi – The Dance Divine'', by Ranjana Gauhar and Dushyant Parasher. Published by Niyogi Books, 2007. {{ISBN|81-89738-17-8}}. *''Odissi, Indian Classical Dance Art: Odisi Nritya'', by [[Sunil Kothari]], Avinash Pasricha. Marg Publications, 1990. {{ISBN|81-85026-13-0}}. *''Perspectives on Odissi Theatre'', by Ramesh Prasad Panigrahi, Odisha Sangeet Natak Akademi. Published by Odisha Sangeet Natak Akademi, 1998. *''Abhinaya-chandrika and Odissi dance'', by Maheshwar Mahapatra, Alekha Chandra Sarangi, Sushama Kulshreshthaa, Maya Das. Published by Eastern Book Linkers, 2001. {{ISBN|81-7854-010-X}}. *''Rethinking Odissi'', by Dinanath Pathy. Published by Harman Pub. House, 2007. {{ISBN|81-86622-88-8}}. *{{cite journal|author=Natalia Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }} *{{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 }} *{{cite book|author=Ragini Devi|title=Dance Dialects of India|url=https://books.google.com/books?id=KRz5ykKRVAEC |year=1990 |publisher=Motilal Banarsidass |isbn=978-81-208-0674-0}} * {{cite journal| last= Williams|first=Drid| title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing|url= http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |journal=Visual Anthropology| volume=17|issue=1 |year=2004|pages=69–98 |publisher= Routledge |doi=10.1080/08949460490274013}} * {{cite book |author=Tarla Mehta | title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC | year=1995| publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }} * {{cite book|last= Fergusson |first=James |title=The Caves Temples of India|url=https://books.google.com/books?id=5YqEFKdU8FEC&pg=PA405|year=1880|publisher=W. H. Allen|access-date=2 April 2016}} * {{cite book|last=Michell|first=George l|title=Temple Architecture and Art of the Early Chalukyas: Badami, Mahakuta, Aihole, Pattadakal|url=https://books.google.com/books?id=-1TroAEACAAJ|date=15 October 2014|publisher=Niyogi Books|isbn=978-93-83098-33-0}} * {{cite book|author=Reginald Massey|title=India's Dances: Their History, Technique, and Repertoire|url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004|publisher=Abhinav Publications|isbn=978-81-7017-434-9 }} *{{cite book|author= Emmie Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }} *{{cite book|author=Kapila Vatsyayan |title=Bharata, the Nāṭyaśāstra |url=https://books.google.com/books?id=zKW1PAAACAAJ |year=2001|publisher=Sahitya Akademi |isbn=978-81-260-1220-6}} *{{cite book| author=Kapila Vatsyayan |title=Classical Indian dance in literature and the arts |year=1977 |publisher=Sangeet Natak Akademi |oclc= 233639306}}, [http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf Table of Contents] *{{citation| author=Kapila Vatsyayan |title=Indian classical dance |year=1974 |publisher=Sangeet Natak Akademi |oclc= 2238067 }} *{{cite book| author=Kapila Vatsyayan |title=Aesthetic theories and forms in Indian tradition |year=2008 |publisher=Munshiram Manoharlal |oclc= 286469807| isbn= 978-8187586357}} *{{cite book| author=Kapila Vatsyayan |title=Dance In Indian Painting |url=https://books.google.com/books?id=58fUibaZdGYC |publisher=Abhinav Publications |isbn=978-81-7017-153-9}} *{{cite journal | author =Wallace Dace | title=The Concept of "Rasa" in Sanskrit Dramatic Theory | journal=Educational Theatre Journal | volume=15 | issue=3 | pages=249–254 | year=1963 | jstor=3204783 | doi=10.2307/3204783 }} ==External links== {{Commons category|Odissi}} {{Wikiquote}} *[https://www.youtube.com/watch?v=X69dOnl_zKw Odissi solo performance: Nitisha Nanda], Arabhi Pallav, New Delhi 2013 *[https://www.youtube.com/watch?v=qRl3Jdxn1ZQ Odissi group dance: Megh Pallavi], Vancouver 2014 *[https://www.youtube.com/watch?v=52bscmW8x80 Maryam Shakiba - Odissi Dance - Manglacharan Ganesh Vandana] Pushkar 2014 *[http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/ Odissi links] at the Open Directory *[http://www.narthaki.com/odissi/odidivi.htm Odissi schools], Classical Indian Dance Portal *[https://pad.ma/grid/title/project==Odissi_Archive The annotated Odissi Dance Archive on Pad.ma] *[https://web.archive.org/web/20090410060341/http://orissagov.nic.in/e-magazine/Orissareview/2008/May-2008/engpdf/The_Story17-19.pdf History of Odissi and Geeta Govinda] JN Dhar, Orissa Review *[https://web.archive.org/web/20060505124201/http://www.bharatbhavankerala.org/oddissi.htm Bharat Bhavan], a [[Kerala]]-based Department of Culture information website. {{Dance in India}} {{Odia culture|state=collapsed}} {{Dance}} {{Hindudharma}} [[Category:Odissi| ]] [[Category:Arts of Odisha]] [[Category:Odia culture]] [[Category:Jayadeva]] [[Category:Classical dance genres of India]] [[Category:Hindu temple dance]] [[Category:Odissi dancers]] [[Category:Odissi music]] [[Category:Artforms based on Odissi music]]'
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'{{short description|One of the major classical dances of India}} {{Use British English|date=March 2013}} {{Use dmy dates|date=March 2013}} [[File:Odissi_Performance_DS.jpg|thumb|Odishee is a classical dance that originated in [[Odisha]], [[India]]]] '''Odishee''' ([[Odia language|Odia]]: {{transl|or|ISO|ଓଡ଼ିଶୀ}}), also referred to as '''Odishee''' in older literature, is a major ancient [[Indian classical dance]] that originated in the [[Hindu temple]]s of [[Odisha]] – an eastern coastal state of [[India]].<ref name=britannicaodis>[https://www.britannica.com/art/odissi Odissi] ''Encyclopædia Britannica'' (2013)</ref>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Chhau, Satriya, Yaksagana and Bhagavata Mela}}<ref>{{cite web |title=Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar|url=http://sangeetnatak.gov.in/sna/guide-snaawards.htm |access-date=6 November 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131014000750/http://sangeetnatak.gov.in/sna/guide-snaawards.htm |archive-date=14 October 2013 }}</ref> Odishee, in its history, was performed predominantly by women,<ref name=britannicaodis/><ref name="Claus2003p136">{{cite book|author1=Peter J. Claus|author2=Sarah Diamond|author3=Margaret Ann Mills|title=South Asian Folklore: An Encyclopedia|url= https://books.google.com/books?id=ienxrTPHzzwC |year=2003|publisher=Routledge |isbn= 978-0-415-93919-5 |pages=136 }}</ref> and expressed [[religious]] stories and spiritual ideas, particularly of [[Vaishnavism]] (Vishnu as [[Jagannatha]]). Odishee performances have also expressed ideas of other traditions such as those related to Hindu gods [[Shiva]] and [[Surya]], as well as Hindu goddesses ([[Shaktism]]).<ref name="KothariPasricha1990p41">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=4–6, 41 }}, '''Quote:''' "There are other temples too in Odisha where the ''maharis'' used to dance. Besides the temple of Lord Jagannatha, ''maharis'' were employed in temples dedicated to Shiva and Shakti."</ref> The theoretical foundations of Odishee trace to the ancient Sanskrit text ''[[Natya Shastra]]'', its existence in antiquity evidenced by the dance poses in the sculptures of Odishee Hindu temples,<ref name=britannicaodis/><ref name="Lochtefeld2002p483">{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: N-Z|url=https://books.google.com/books?id=g6FsB3psOTIC |year=2002| publisher=The Rosen Publishing Group |isbn=978-0-8239-3180-4 |pages=484–485 }}</ref> and archeological sites related to [[Hinduism]], [[Buddhism]] and [[Jainism]].<ref name= Schechner65>{{cite book|author=Richard Schechner |title=Between Theater and Anthropology |url=https://books.google.com/books?id=DoEaulAxbu8C&pg=PA65 |year=2010|publisher=University of Pennsylvania Press |isbn=978-0-8122-0092-8 |pages=65–66}}</ref><ref name=kyriakidis155/><ref name="KothariPasricha1990p12">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=9–10, 12}}, '''Quote:''' The art of dance and music suffered on account of political instability, the Muslim invasion, the desecration of the temples and the loss of independence, the lack of patronage to both the ''maharis'' and the ''gotipua'' dancers..."</ref> It was suppressed under the [[British Rule]].{{Sfn|Ragini Devi|1990|pp=47-49}}<ref name="Carter2013p145">{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=144–145 }}</ref> The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since [[India]] gained independence from the colonial rule.<ref name=kyriakidis155>{{cite book|author=Evangelos Kyriakidis|title=The archaeology of ritual|url=https://books.google.com/books?id=e34KAQAAMAAJ|year=2007|publisher=Cotsen Institute of Archaeology, University of California Press|isbn=978-1-931745-48-2|pages=155–158}}</ref> Odishee is traditionally a dance-drama genre of [[performance art]], where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the [[Hindu texts]], using symbolic costumes,<ref>{{cite book|author=Stephanie Arnold|title=The Creative Spirit: An Introduction to Theatre|url=https://books.google.com/books?id=pn1zCgAAQBAJ&pg=PA9 |year=2014|publisher=McGraw Hill |isbn=978-0-07-777389-2 |pages=9 }}</ref> body movement, ''[[abhinaya]]'' (expressions) and ''[[mudra]]s'' (gestures and [[sign language]]) set out in ancient Sanskrit literature.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=1–4, 76–77}}</ref> Classical Odia literature & the [[Gitagovinda]] set to traditional [[Odishee music]] are used for the ''abhinaya''. Odishee is learnt and performed as a composite of basic dance motif called the ''[[Tribhanga|Bhangas]]'' (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting [https://onlinebharatanatyam.com/2010/06/25/eye-movements-or-drishthi-bheda/ expression] and audience engagement with geometric symmetry and rhythmic musical resonance.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=50}}</ref><ref name="Vatsyayan1983p57">{{cite book|author=Kapila Vatsyayan|title=The square and the circle of the Indian arts|url=https://books.google.com/books?id=2sKfAAAAMAAJ|year=1983|publisher=Roli Books International|pages=57–58}}</ref> An Odishee performance repertoire includes invocation, ''nritta'' (pure dance), ''nritya'' (expressive dance), ''natya'' (dance drama) and ''moksha'' (dance climax connoting freedom of the [[Atman (Hinduism)|soul]] and spiritual release).<ref name="NettlStone1998p520 "/><ref name=aroyo267/> Traditional Odishee exists in two major styles, the first perfected by women and focussed on solemn, [[Mahari dance|spiritual temple dance (''maharis'')]]; the second perfected by [[Gotipua|boys dressed as girls (''gotipuas'')]]<ref>{{cite book|author1=Axel Michaels|author2=Christoph Wulf|title=Images of the Body in India: South Asian and European Perspectives on Rituals and Performativity|url=https://books.google.com/books?id=ui2pAgAAQBAJ&pg=PT192 |year=2012|publisher=Routledge |isbn=978-1-136-70392-8|page=192}}</ref> which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment.<ref name="Lochtefeld2002p483"/> Modern Odishee productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays.<ref>{{cite book|author=Ian Watson|title=Towards a Third Theatre: Eugenio Barba and the Odin Teatret|url=https://books.google.com/books?id=ChGGAgAAQBAJ |year=2003|publisher=Routledge|isbn=978-1-134-79755-4 |pages=xii–xiii }}</ref> Odishee was the only Indian dance form present in [[Michael Jackson]]'s 1991 hit single [[Black or White]]. {{Hinduism}} ==History== The foundations of Odishee are found in ''[[Natya Shastra]]'', the ancient Hindu Sanskrit text of performance arts.<ref name="KothariPasricha1990p32">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=32–33, 48–49, 68 }}</ref><ref name="Kuiper2010p278">{{cite book|author=Kathleen Kuiper|title=The Culture of India|url=https://books.google.com/books?id=c8PJFLeURhsC&pg=PA278 |year=2010|publisher=The Rosen Publishing Group|isbn=978-1-61530-149-2 |pages=278 }}</ref> The basic dance units described in [[Natyashastra]], all 108 of them, are identical to those in Odishee.<ref name="Kuiper2010p278"/> ''[[Natya Shastra]]'' is attributed to the ancient scholar [[Bharata Muni]], and its first complete compilation is dated to between 200&nbsp;BCE and 200&nbsp;CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500&nbsp;BCE and 500&nbsp;CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text,<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref> are a form of expression of spiritual ideas, virtues and the essence of scriptures.<ref name=mog17>{{cite web|title=The Mirror of Gesture|author=Coormaraswamy and Duggirala|publisher=Harvard University Press|year=1917|page=4|url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref> The [[Natya Shastra]] refers to four ''vrittis'' (methods of expressive delivery) in vogue – ''Avanti'', ''Dakshinatya'', ''Panchali'' and ''Odra-Magadhi''; of these, the ''Odra'' refers to Odisha.<ref name=kothari6/> More direct historical evidence of dance and music as an ancient performance art are found in archaeological sites such as caves and in temple carvings of [[Bhubaneswar]], [[Konark Sun Temple|Konark]] and [[Puri]].<ref name="Kuiper2010p278"/><ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=13–16, 31–32}}</ref> The Manchapuri cave in [[Udayagiri, Odisha|Udayagiri]] shows carvings of [[:File:Pragya Shaw at Toronto Bihu 2019.jpg|dance]] and musicians, and this has been dated to the time of [[Jainism|Jain]] king [[Kharavela]] in the first or second century BCE. The [[Hathigumpha inscription]]s, also dated to the same ruler, mention music and dance:<ref name=kothari6>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=5–6}}</ref><ref>Benudhar Patra (2008), [https://www.jstor.org/stable/41692117 Merchants, Guilds and Trade in Ancient India: An Odishan Perspective], Annals of the Bhandarkar Oriental Research Institute, Volume 89, pages 133-168</ref> <blockquote style="background-color:none;margin-right:5em;margin-left:0em;border-left:solid 6px #FFE0BB;padding:1.0em"> (he [the king]) versed in the science of the ''Gandharvas'' (i.e., music), entertains the capital with the exhibition of ''dapa'', dancing, singing and instrumental music and by causing to be held festivities and assemblies (samajas)...</p> — ''Hathigumpha inscription, Line 5'', ~ 2nd-1st century BCE<ref>[http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf Hathigumpha inscription] {{webarchive|url=https://web.archive.org/web/20160303232906/http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf |date=3 March 2016 }} South Dakota State University, Epigraphia Indica, Vol. XX (1929-30)</ref><ref>J. F. Fleet (1910), [https://www.jstor.org/stable/25189732 The Hathigumpha Inscription], The Journal of the Royal Asiatic Society of Great Britain and Ireland, (Jul., 1910), Cambridge University Press, pages 824-828</ref> </blockquote> The musical tradition of Odisha also has ancient roots. Archeologists have reported the discovery of 20-key, carefully shaped polished basalt lithophone in [[Sankarjang]], the highlands of Odisha, which is dated to about 1000 BCE.<ref>{{Cite journal|author1=P. Yule |author2=M. Bemmann |title=Klangsteine aus Orissa-Die frühesten Musikinstrumente Indiens?|journal=Archaeologia Musicalis|volume=2|issue=1 |year=1988|pages=41–50|url=http://archiv.ub.uni-heidelberg.de/savifadok/volltexte/2008/177/}}</ref><ref>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=319 }}</ref> ===Medieval era=== [[File:Odissi Dancer.jpg|thumb|297x297px|Odissi dancer]] The [[Hindu]], [[Jain]] and [[Buddhist]] archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odishee-like postures.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=13–15}}</ref><ref>DB Mishra (2006), [http://www.orissa.gov.in/e-magazine/Orissareview/may2006/engpdf/22-29.pdf Orissan Inscriptions] Odisha Review</ref> Historical evidence, states Alexandra Carter, shows that Odishee ''Maharis'' (Hindu temple dancers) and dance halls architecture (''nata-mandap'') were in vogue at least by the 9th century CE.<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=147–148 }}</ref> According to [[Kapila Vatsyayan]], the ''Kalpasutra'' of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses – such as the ''Samapada'', the ''Tribhangi'' and the ''Chuaka'' of Odishee. This, states Vatsyayan, suggests that Odishee was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text.<ref>{{cite book|author=Kapila Vatsyayan|title=Dance In Indian Painting|url= https://books.google.com/books?id=58fUibaZdGYC|year=1982 |publisher=Abhinav Publications|isbn=978-0391022362|pages=73–78 }}</ref> However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the ''Abhinaya Chandrika'' and ''Abhinaya Darpana'' provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=66–67}}</ref> It includes illustrations of the Karanãs mentioned in ''NãtyaShãstra''.{{sfn|Reginald Massey|2004|pp=210-212}} Similarly, the illustrated Hindu text on temple architecture from Odisha, the ''Shilpaprakãsha'', deals with Odia architecture and sculpture, and includes Odishee postures.<ref>{{cite book|author1=Alice Boner|author2=Sadāśiva Rath Śarmā|title=Silpa Prakasa Medieval Odishan Sanskrit Text on Temple Architecture|url=https://books.google.com/books?id=itQUAAAAIAAJ |year=1966|publisher=Brill Academic|pages=74–80, 52, 154 }}</ref> [[File:Dancing Figures.JPG|thumb|120px|left|Musician and dancer relief at the Konark Sun temple.]] Actual sculptures that have survived into the modern era and panel [[relief]]s in Odia temples, dated to be from the 10th to 14th century, show Odishee dance. This is evidenced in [[Jagannatha temple]] in [[Puri]], as well as other temples of [[Vaishnavism]], [[Shaibism]], [[Shaktism]] and Vedic deities such as [[Surya]] (Sun) in Odisha.<ref name="KothariPasricha1990p41"/> There are several sculptures of dancers and musicians in [[Konark Sun Temple]] and [[Brahmeswara Temple]] in [[Bhubaneswar]].<ref name=britannicaodis/><ref name="Lochtefeld2002p483"/> The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired ''Gitagovinda'' by 12th century Jayadeva influenced the focus and growth of modern Odishee.<ref name="Verma2011p43">{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ&pg=PA43 |year=2011|publisher=Cambridge Scholars Publishing|isbn=978-1-4438-2832-1 |pages=43–57 }}</ref> Odishee was performed in the temples by the dancers called ''Maharis'', who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.<ref name="KothariPasricha1990p41"/><ref name="Verma2011p43"/> ===Mughal and British period=== After 12th-century, Odia temples, monasteries and nearby institutions such as the [[Puspagiri]] in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists.<ref name="Carter2013p145"/> The official records of Sultan Firuz Shah Tughlaq's invasion in [[Odisha]] (1360{{ndash}}1361 CE), for example, describe the destruction of the [[Jagannath temple]] as well as numerous other temples, defacing of dancing statues, and ruining of dance halls.<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=68–69 }}</ref> This led to a broad decline in Odishee and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts.<ref name="Carter2013p145"/> During the Sultanate and Mughal era of [[India]], the temple dancers were moved to entertain the Sultan's family and courts.<ref>{{cite book|author=Stephanie Burridge|title=Shifting sands: dance in Asia and the Pacific|url=https://books.google.com/books?id=Mm8NAQAAMAAJ|year=2006|publisher=Australian Dance Council|isbn=978-1-875255-15-3|page=32}}</ref> They became associated with [[concubinage]] to the nobility.{{citation needed|date=August 2016}} [[File:Odissi is a classical Indian dance that originated in Odisha, India.jpg|thumb|A male Odissi dancer]] The Odishee dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage.<ref name=carter148/> This expansion integrated martial arts (''akhanda'') and athletics into Odishee dance, by engaging boys and youth called ''Gotipuas'', as a means to physically train the young for the military and to resist foreign invasions.<ref name=carter148>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=148–149 }}</ref> According to Ragini Devi, historical evidence suggests that the ''Gotipuas'' tradition was known and nurtured in the 14th century, by Raja of Khordha.{{Sfn|Ragini Devi|1990|p=142}} During the [[British Raj]], the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odishee and other Hindu temple dance arts.<ref name="Carter2013p145"/><ref name=marysnodgrass166>{{cite book|author=Mary Ellen Snodgrass|title=The Encyclopedia of World Folk Dance|url=https://books.google.com/books?id=DMGpDAAAQBAJ |year=2016|publisher=Rowman & Littlefield |isbn=978-1-4422-5749-8 |pages=165–168 }}</ref><ref name="Walker2016p94">{{cite book|author=Margaret E. Walker|title=India's Kathak Dance in Historical Perspective|url=https://books.google.com/books?id=nC83DAAAQBAJ&pg=PA94|year=2016|publisher=Routledge |isbn=978-1-317-11737-7 |pages=94–98 }}</ref> In 1872, a British civil servant named William Hunter watched a performance at the Jagannatha temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".<ref name="Alexandra Carter 2013 145–146">{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=145–146 }}</ref> Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms.<ref name=marysnodgrass166/> The dancers were dehumanized and stigmatized as prostitutes during the [[British India|British period]].<ref name=amritsri73>{{cite journal|title=The Hindu Temple-dancer: Prostitute or Nun? |author= Amrit Srinivasan|journal= The Cambridge Journal of Anthropology|volume= 8| number= 1 |year =1983| pages= 73–99|jstor=23816342}}</ref><ref name=leslieorr8>{{cite book|author=Leslie C. Orr|title=Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu|url=https://books.google.com/books?id=F___xKcP8lMC |year=2000|publisher=Oxford University Press|isbn=978-0-19-535672-4|pages=5, 8–17}}</ref> In 1910, the British colonial government in India banned temple dancing,<ref name=pallabinilan30>{{cite book|author1=Pallabi Chakravorty|author2=Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=KQly7wn0C5sC&pg=PA30 |year=2012|publisher=Routledge|isbn=978-1-136-51612-2 |pages=30 }}</ref> and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.<ref name=carter148/> ===Post-independence=== The temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of [[India]], including Odishee.<ref name=marysnodgrass166/><ref name="Walker2016p94"/><ref name="Alexandra Carter 2013 145–146"/> Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism.<ref name=craine420>{{cite book|author1=Debra Craine|author2=Judith Mackrell|title=The Oxford Dictionary of Dance|url=https://books.google.com/books?id=42g8Hp-xA48C |year=2010|publisher=Oxford University Press |isbn=978-0199563449 |pages=420 }}</ref> Odishee, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Odia poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odishee".<ref name="Carter2013p145"/><ref>{{cite journal|author=David Dennen |url=https://www.academia.edu/2577115 |title=The Naming of Odissi: Changing Conceptions of Music in Odisha|journal=Ravenshaw Journal of Literary and Cultural Studies (Vol. 3) }}</ref> ==Repertoire== [[File:Sitara Thobani classical dance mudra India (16).jpg|thumb|An h dancer in ''nritya'' (expressive) stage of the dance.]] Odishee, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odishee performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odis repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odishee is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances. Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krushna-related literature, and as longing eros (''Shreengara'') in its dance arts such as in Odishee, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/> The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odishee are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} *The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=207-214}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref> *The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} In a ''nritya'', the dance-acting expands to include silent expression of words through the [[sign language]] of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/> *The ''Natyam'' is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Natya'' incorporates the elements of a ''Nritya''.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} *The ''Mokshya'' is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and serenity in the spiritual.<ref name=aroyo267>{{cite book|author= Alessandra Royo| editor=Pallabi Chakravorty, Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=_QDgCgAAQBAJ&pg=PA267|year=2012|publisher=Routledge|isbn=978-1-136-51613-9|page=267}}</ref> Odissi dance can be accompanied by both northern Indian (Hindustani) and southern Indian (Carnatic) music, though mainly, recitals are in Odia and Sanskrit language in the [[Odissi music|Odissi Music]] tradition.<ref name="NettlStone1998p519 "/> ===Sequence=== Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannatha (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranama'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranama'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> [[File:Mrutyuh.jpg|thumb|Odissi Dance Drama]] The next sequential step in an Odishee performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odishee is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Odia songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krushna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}} The ''natya'' part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.{{Sfn|Kapila Vatsyayan|1974|pp=35-37}} A distinctive part of the Odishee tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/> === Basic moves and mudras === [[File:Odissi murals in Bhubaneswar.gif|thumb|Odissi mudra murals in Bhubaneswar]] [[File:Madhumita Raut.jpg|thumb|Odissi pose at [[Konark Sun Temple]]]] The basic unit of Odissi are called ''bhangas''. These are made up of eight ''belis'', or body positions and movements, combined in many varieties.{{sfn|Reginald Massey|2004|pp=210-212}} Motion is ''uthas'' (rising or up), ''baithas'' (sitting or down) or ''sthankas'' (standing).{{sfn|Reginald Massey|2004|pp=210-212}} The gaits or movement on the dance floor is called ''chaalis'', with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, ''burhas'' or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.{{sfn|Reginald Massey|2004|pp=210-212}} The foot movement or ''pada bhedas'' too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.{{sfn|Reginald Massey|2004|pp=210-212}} The three primary dance positions in Odishee are:<ref name="NettlStone1998p520 "/> *''Samabhanga'' – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent. *''Abhanga'' – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways. *''Tribhanga'' – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but ''tribhanga'' postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<ref name="NettlStone1998p520 "/> ''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odishee is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/> * Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.) * Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.) * Nrutya Hasta – “Pure Dance” Mudras The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshawara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref> ===Costumes=== [[File:The Odissi Costume - Dipanwita Roy.jpg|thumb|right|alt=The Odissi costume.|The Odissi costume]] The Odishee dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odishee dancers are brightly coloured, and usually of local silk (''Pattashadhee'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}} The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoota'' with peacock feathers (symbolism for Lord Krushna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref> Ear covers called ''Kapa'' or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called ''Bahichudi'' or ''Bajuband'', on the upper arm. The wrist is covered with ''Kankana'' (bangles).<ref name="Patnaik1990p115"/> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (''ghungroo'').<ref name=gaston81/> The dancer's palms and soles may be painted with red coloured dye called the ''[[Alta (dye)|Alta]]''.<ref name="Patnaik1990p115"/> Modern Odishee male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}} === Music and instruments === {{Main|Odissi music}} Odishee dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref> Odishee dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}} An Odishee troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" /> [[File:Odissi group performance.jpg|thumb|Odissi group performance]] ===Styles=== The Odishee tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'': * ''Maharis'' were Odia [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/> * ''Gotipuas'' were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<ref name="KothariPasricha1990p49"/> * ''Nartaki'' dance took place in the royal courts, where it was prevalent before the British period.<ref>Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in ''The Archaeology of Ritual'' ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</ref><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=84–85}}</ref> == Schools, training and recognition == [[File:Kasturi Pattanaik-Photo-3.jpg|thumb|The performer is in an Odissi Dance Abhinaya, based on the popular Indian epic-Ramayan]] === Odissi maestros and performers === [[Kelucharan Mohapatra]], Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. [[Sanjukta Panigrahi]] was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, [[Kumkum Mohanty]] and [[Sonal Mansingh]], were known for their performances in India and abroad. Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival.<ref>{{cite news| url=http://www.telegraphindia.com/1100809/jsp/orissa/story_12788878.jsp | location=Calcutta, India | work=The Telegraph | title=Steps to success | date=9 August 2010}}</ref> Guru [[Mayadhar Raut]] played a pivotal role in giving Odissi dance its classical status. He introduced ''Mudra Vinyoga'' in 1955 and ''Sancharibhava'' in the Odissi dance items, and portrayed ''Shringara Rasa'' in ''[[Gita Govinda]] Ashthapadis''. His notable compositions include ''Pashyati Dishi Dishi'' and ''Priya Charu Shile'', composed in 1961.<ref>Kaktikar, A. ''Odissi Yaatra: The Journey of Guru Mayadhar Raut''. Delhi: B. R. Rhythms. 2010. {{ISBN|978-81-88827-21-3}}.</ref> Odissi and Kathak exponent and researcher Parwati Dutta has contributed towards research and revival<ref>https://www.thehindu.com/features/friday-review/dance/mystery-and-magic/article5003550.ece</ref> of lesser-known or lost aspects of Odissi like Odissi Taal system, [http://www.narthaki.com/info/articles/art364.html Vadya Pallavi] , Buddhist and Shaiva period Odissi. She has also pioneered in introducing and nurturing <ref>https://www.thehindu.com/features/friday-review/dance/taking-classical-dance-to-the-masses/article4977451.ece</ref> Odissi in Marathwada region of Maharashtra, India through [http://www.mahagami.com Mahagami Gurukul] and has introduced a complete module of learning by combining the Dance-Gurukul with a school and a University so as to cater to a range of learners and aspirants. In the evolution of Odissi Dance from its traditional format to contemporary shape, [[Kasturi Pattanaik]],<ref>https://www.thehindu.com/entertainment/music/almost-there/article27298134.ece</ref> a leading exponent of Odissi Dance, has played a major role. Through her new creations in Odissi Dance, she has left deep artistic impact in the evolution and growth of Odissi Dance.<ref>{{Cite web | url=http://www.newindianexpress.com/cities/delhi/2019/may/18/indian-dance-weekend-celebrations-1978536.html |title = Indian dance weekend celebrations}}</ref> She has introduced new concepts, new techniques and new themes in Odissi Dance repertory. Her choreographies<ref>{{Cite news | url=https://www.thehindu.com/entertainment/dance/solos-on-stage/article19180685.ece |title = Solos on stage|newspaper = The Hindu|date = 30 June 2017|last1 = Vidyarthi|first1 = Nita}}</ref> provided linkages with the evolution of Odissi Dance from its formative Mahari, Gotipua to its current version. Being an accomplished Odissi musician, she has a distinct contribution in integrating the pure Odissi music in Odissi Dance, thereby enhancing the classicality of Odissi Dance in its contemporary format. == Schools == {{State of Odisha}} Srjan (Guru [[Kelucharan Mohapatra]] Odissi Nrityabasa) is a premier Odissi dance school & training institution founded by Guru [[Kelucharan Mohapatra]] in [[Bhubaneswar]], [[Odisha]] in 1993. Now run by his son & disciple, Guru [[Ratikant Mohapatra]], Srjan is committed to preserving and popularizing the rich culture of Odissi by maintaining high standards of performance & professionalism. Regular dance classes for local students & special classes for foreigners are augmented by summer workshops, performances, new choreographies & dance and music Guru [[Kelucharan Mohapatra]] Award festival organizing since 1995. MOPA ([http://www.mopaindia.com/index.html Masako Ono Performing Arts]) was established in 2010 by International Odissi dancer [http://masakoono.com/index.html Masako Ono]. Masako started dancing at the age of 4 and in 1996 she joined NRITYAGRAM, the dance village started by the noted Odissi dancer, late [[Protima Bedi|PROTIMA GAURI BEDI]], and won a scholarship for her studies. Subsequently, she has been living in Orissa where she received further training in Odissi from GURU [[Kelucharan Mohapatra|KELUCHARAN MOHAPATRA]] and many more. She is the only Japanese Odissi dancer, an empanelled Artist of ICCR, Indian Council for Cultural Relations, Govt. of India. She has been selected as one of the 100 most respected Japanese in the world by the Newsweek Japan in 2008. === IIT Bhubaneswar === Odissi has been included in [[Indian Institute of Technology Bhubaneswar]]'s [[BTech]] syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.<ref name=TOI11September2015>{{cite news|last=Pradhan|first=Ashok|title=IIT Bhubaneswar becomes first IIT in country to introduce dance as BTech subject|url=http://timesofindia.indiatimes.com/home/education/news/IIT-Bhubaneswar-becomes-first-IIT-in-country-to-introduce-dance-as-BTech-subject/articleshow/48911403.cms|access-date=13 September 2015|publisher=Times of India|date=11 September 2015}}</ref><ref name=Hin12September2015>{{cite news|last1=Barik|first1=Satyasundar|title=IIT-Bhubaneswar to train students in Odissi too|url=http://www.thehindu.com/news/national/other-states/iitbhubaneswar-to-train-students-in-odissi-too/article7642531.ece|access-date=13 September 2015|publisher=The Hindu|date=12 September 2015}}</ref><ref name=NIE12September2015>{{cite news|title=IIT-Bhubaneswar Becomes First IIT to Introduce Odissi as a Course|url=http://www.newindianexpress.com/states/odisha/IIT-Bhubaneswar-Becomes-First-IIT-to-Introduce-Odissi-as-a-Course/2015/09/11/article3022753.ece|access-date=13 September 2015|publisher=New Indian Express|date=12 September 2015}}</ref> [[File:GWR attempt for largest Odissi Dance.jpg|thumb|160px|left|[[Guinness World Records]] on the largest Odissi dance event.]] ===In Guinness World records=== [[Guinness World Records]] has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the ''Mangalacharan, Battu, Pallavi, Abhinay'' and ''Mokshya'' dance items from the Odissi repertoire.<ref>{{cite web|url=http://newindianexpress.com/states/odisha/article335732.ece|title=Odissi dancers enter Guinness|website=newindianexpress.com|access-date=27 March 2018}}</ref><ref>[http://www.thesundayindian.com/en/story/guinness-world-records-enlists-odissi-dance-show/29065/ thesundayindian.com: Guinness World Records enlists Odissi dance show]</ref> More than 1000 Odissi dancers performed at the World Cultural Festival<ref>{{cite web|url=http://zeenews.india.com/entertainment/and-more/live-watch-art-of-living-s-world-culture-festival-2016-day-2_1864974.html|title=LIVE: Watch - Art of Living's World Culture Festival 2016 – Day 2|date=12 March 2016|website=india.com|access-date=27 March 2018}}</ref><ref>{{cite web|url=http://odishasuntimes.com/2015/12/16/sri-sri-to-visit-odisha-to-prepare-for-world-culture-festival/|title=Sri Sri to visit Odisha to prepare for World Culture Festival - OdishaSunTimes.com|last=Ayaskant|website=odishasuntimes.com|access-date=27 March 2018}}</ref> March 12, 2016. This is till date the largest congregation of Odissi dancers in a single event. ===Odissi Centre at Oxford University=== [[File:Oxford Odissi Centre.JPG|thumb|180px|[[Baisali Mohanty]] announcing the [[Oxford Odissi Centre]].]] An Odissi dance centre has been opened from January, 2016, at the [[University of Oxford]].<ref>{{cite web|url=http://www.telegraphindia.com/1160113/jsp/odisha/story_63528.jsp|title=Odissi beats to resonate at Oxford University|website=telegraphindia.com|access-date=27 March 2018}}</ref> Known as [[Oxford Odissi Centre]], it is an initiative of the Odissi dancer and choreographer [[Baisali Mohanty]] who is also a post-graduate scholar at the [[University of Oxford]].<ref>{{cite web|url=http://odishasuntimes.com/2015/12/26/odissi-centre-to-open-at-oxford-university-from-jan/|title=Odissi Centre to open at Oxford University from Jan - OdishaSunTimes.com|last=Ayaskant|website=odishasuntimes.com|access-date=27 March 2018}}</ref> Beside holding regular Odissi dance classes at its institution, the [[Oxford Odissi Centre]] also conducts Odissi dance workshops at other academic institutions in the United Kingdom.<ref>{{cite web|url=http://www.dailypioneer.com/print.php?printFOR=storydetail&story_url_key=odishi-centre-to-open-at-oxford-in-january&section_url_key=state-editions|title=The Pioneer|website=www.dailypioneer.com|access-date=27 March 2018}}</ref><ref>{{cite web|url=http://kalingatv.com/state-news/oxford-university-odissi-centre-jan/|title=Kalinga TV on Facebook|website=KalingaTV|access-date=27 March 2018}}</ref> '''University Degrees and Gurukul Training in Odissi''' MAHAGAMI GURUKUL has been offering training in Guru-Shishya tradition in Odissi since 1996 and is the first in Maharashtra state in India to offer University Degree programs in Odissi. [http://www.mahagami.com MAHAGAMI] is led by eminent Odissi and Kathak artiste Parwati Dutta who is Director of the Gurukul and Dean of [http://www.mgmu.ac.in MGM University], Performing Arts Faculty. ==See also== *[[Indian classical dance]] *[[Ghungroo]] *[[Odissi music]] *[[Gotipua]] ==References== {{reflist|30em}} ===Bibliography=== *''Odissi : What, Why and How… Evolution, Revival and Technique'', by [[Madhumita Raut]]. Published by B. R. Rhythms, Delhi, 2007. {{ISBN|81-88827-10-X}}. *''Odissi Yaatra: The Journey of Guru Mayadhar Raut'', by Aadya Kaktikar (ed. [[Madhumita Raut]]). Published by B. R. Rhythms, Delhi, 2010. {{ISBN|978-81-88827-21-3}}. *''Odissi Dance'', by Dhirendranath Patnaik. Published by Odisha Sangeet Natak Akademi, 1971. *''Odissi – The Dance Divine'', by Ranjana Gauhar and Dushyant Parasher. Published by Niyogi Books, 2007. {{ISBN|81-89738-17-8}}. *''Odissi, Indian Classical Dance Art: Odisi Nritya'', by [[Sunil Kothari]], Avinash Pasricha. Marg Publications, 1990. {{ISBN|81-85026-13-0}}. *''Perspectives on Odissi Theatre'', by Ramesh Prasad Panigrahi, Odisha Sangeet Natak Akademi. Published by Odisha Sangeet Natak Akademi, 1998. *''Abhinaya-chandrika and Odissi dance'', by Maheshwar Mahapatra, Alekha Chandra Sarangi, Sushama Kulshreshthaa, Maya Das. Published by Eastern Book Linkers, 2001. {{ISBN|81-7854-010-X}}. *''Rethinking Odissi'', by Dinanath Pathy. Published by Harman Pub. House, 2007. {{ISBN|81-86622-88-8}}. *{{cite journal|author=Natalia Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }} *{{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 }} *{{cite book|author=Ragini Devi|title=Dance Dialects of India|url=https://books.google.com/books?id=KRz5ykKRVAEC |year=1990 |publisher=Motilal Banarsidass |isbn=978-81-208-0674-0}} * {{cite journal| last= Williams|first=Drid| title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing|url= http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |journal=Visual Anthropology| volume=17|issue=1 |year=2004|pages=69–98 |publisher= Routledge |doi=10.1080/08949460490274013}} * {{cite book |author=Tarla Mehta | title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC | year=1995| publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }} * {{cite book|last= Fergusson |first=James |title=The Caves Temples of India|url=https://books.google.com/books?id=5YqEFKdU8FEC&pg=PA405|year=1880|publisher=W. H. Allen|access-date=2 April 2016}} * {{cite book|last=Michell|first=George l|title=Temple Architecture and Art of the Early Chalukyas: Badami, Mahakuta, Aihole, Pattadakal|url=https://books.google.com/books?id=-1TroAEACAAJ|date=15 October 2014|publisher=Niyogi Books|isbn=978-93-83098-33-0}} * {{cite book|author=Reginald Massey|title=India's Dances: Their History, Technique, and Repertoire|url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004|publisher=Abhinav Publications|isbn=978-81-7017-434-9 }} *{{cite book|author= Emmie Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }} *{{cite book|author=Kapila Vatsyayan |title=Bharata, the Nāṭyaśāstra |url=https://books.google.com/books?id=zKW1PAAACAAJ |year=2001|publisher=Sahitya Akademi |isbn=978-81-260-1220-6}} *{{cite book| author=Kapila Vatsyayan |title=Classical Indian dance in literature and the arts |year=1977 |publisher=Sangeet Natak Akademi |oclc= 233639306}}, [http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf Table of Contents] *{{citation| author=Kapila Vatsyayan |title=Indian classical dance |year=1974 |publisher=Sangeet Natak Akademi |oclc= 2238067 }} *{{cite book| author=Kapila Vatsyayan |title=Aesthetic theories and forms in Indian tradition |year=2008 |publisher=Munshiram Manoharlal |oclc= 286469807| isbn= 978-8187586357}} *{{cite book| author=Kapila Vatsyayan |title=Dance In Indian Painting |url=https://books.google.com/books?id=58fUibaZdGYC |publisher=Abhinav Publications |isbn=978-81-7017-153-9}} *{{cite journal | author =Wallace Dace | title=The Concept of "Rasa" in Sanskrit Dramatic Theory | journal=Educational Theatre Journal | volume=15 | issue=3 | pages=249–254 | year=1963 | jstor=3204783 | doi=10.2307/3204783 }} ==External links== {{Commons category|Odissi}} {{Wikiquote}} *[https://www.youtube.com/watch?v=X69dOnl_zKw Odissi solo performance: Nitisha Nanda], Arabhi Pallav, New Delhi 2013 *[https://www.youtube.com/watch?v=qRl3Jdxn1ZQ Odissi group dance: Megh Pallavi], Vancouver 2014 *[https://www.youtube.com/watch?v=52bscmW8x80 Maryam Shakiba - Odissi Dance - Manglacharan Ganesh Vandana] Pushkar 2014 *[http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/ Odissi links] at the Open Directory *[http://www.narthaki.com/odissi/odidivi.htm Odissi schools], Classical Indian Dance Portal *[https://pad.ma/grid/title/project==Odissi_Archive The annotated Odissi Dance Archive on Pad.ma] *[https://web.archive.org/web/20090410060341/http://orissagov.nic.in/e-magazine/Orissareview/2008/May-2008/engpdf/The_Story17-19.pdf History of Odissi and Geeta Govinda] JN Dhar, Orissa Review *[https://web.archive.org/web/20060505124201/http://www.bharatbhavankerala.org/oddissi.htm Bharat Bhavan], a [[Kerala]]-based Department of Culture information website. {{Dance in India}} {{Odia culture|state=collapsed}} {{Dance}} {{Hindudharma}} [[Category:Odissi| ]] [[Category:Arts of Odisha]] [[Category:Odia culture]] [[Category:Jayadeva]] [[Category:Classical dance genres of India]] [[Category:Hindu temple dance]] [[Category:Odissi dancers]] [[Category:Odissi music]] [[Category:Artforms based on Odissi music]]'
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'@@ -54,10 +54,10 @@ ==Repertoire== -[[File:Sitara Thobani Odissi classical dance mudra India (16).jpg|thumb|An Odissi dancer in ''nritya'' (expressive) stage of the dance.]] -Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odissi performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances. +[[File:Sitara Thobani classical dance mudra India (16).jpg|thumb|An h dancer in ''nritya'' (expressive) stage of the dance.]] +Odishee, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odishee performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odis repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odishee is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances. -Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros (''Shringara'') in its dance arts such as in Odissi, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/> +Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krushna-related literature, and as longing eros (''Shreengara'') in its dance arts such as in Odishee, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/> -The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} +The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odishee are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}} *The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=207-214}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref> *The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} In a ''nritya'', the dance-acting expands to include silent expression of words through the [[sign language]] of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/> @@ -68,14 +68,14 @@ ===Sequence=== -Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> +Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannatha (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranama'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranama'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> [[File:Mrutyuh.jpg|thumb|Odissi Dance Drama]] -The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} +The next sequential step in an Odishee performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} -The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Oriya songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krishna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}} +The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odishee is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Odia songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krushna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}} The ''natya'' part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.{{Sfn|Kapila Vatsyayan|1974|pp=35-37}} -A distinctive part of the Odissi tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/> +A distinctive part of the Odishee tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/> === Basic moves and mudras === @@ -84,41 +84,41 @@ The basic unit of Odissi are called ''bhangas''. These are made up of eight ''belis'', or body positions and movements, combined in many varieties.{{sfn|Reginald Massey|2004|pp=210-212}} Motion is ''uthas'' (rising or up), ''baithas'' (sitting or down) or ''sthankas'' (standing).{{sfn|Reginald Massey|2004|pp=210-212}} The gaits or movement on the dance floor is called ''chaalis'', with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, ''burhas'' or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.{{sfn|Reginald Massey|2004|pp=210-212}} The foot movement or ''pada bhedas'' too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.{{sfn|Reginald Massey|2004|pp=210-212}} -The three primary dance positions in Odissi are:<ref name="NettlStone1998p520 "/> +The three primary dance positions in Odishee are:<ref name="NettlStone1998p520 "/> *''Samabhanga'' – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent. *''Abhanga'' – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways. *''Tribhanga'' – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but ''tribhanga'' postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<ref name="NettlStone1998p520 "/> -''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/> +''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odishee is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/> * Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.) * Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.) * Nrutya Hasta – “Pure Dance” Mudras -The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref> +The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshawara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref> ===Costumes=== [[File:The Odissi Costume - Dipanwita Roy.jpg|thumb|right|alt=The Odissi costume.|The Odissi costume]] -The Odissi dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odissi dancers are brightly coloured, and usually of local silk (''Pattasari'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}} +The Odishee dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odishee dancers are brightly coloured, and usually of local silk (''Pattashadhee'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}} -The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoot'' with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref> +The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoota'' with peacock feathers (symbolism for Lord Krushna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref> Ear covers called ''Kapa'' or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called ''Bahichudi'' or ''Bajuband'', on the upper arm. The wrist is covered with ''Kankana'' (bangles).<ref name="Patnaik1990p115"/> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (''ghungroo'').<ref name=gaston81/> The dancer's palms and soles may be painted with red coloured dye called the ''[[Alta (dye)|Alta]]''.<ref name="Patnaik1990p115"/> -Modern Odissi male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}} +Modern Odishee male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}} === Music and instruments === {{Main|Odissi music}} -Odissi dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref> +Odishee dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref> -Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}} +Odishee dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}} -An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" /> +An Odishee troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" /> [[File:Odissi group performance.jpg|thumb|Odissi group performance]] ===Styles=== -The Odissi tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'': +The Odishee tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'': -* ''Maharis'' were Oriya [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/> +* ''Maharis'' were Odia [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/> * ''Gotipuas'' were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<ref name="KothariPasricha1990p49"/> * ''Nartaki'' dance took place in the royal courts, where it was prevalent before the British period.<ref>Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in ''The Archaeology of Ritual'' ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</ref><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url= https://books.google.com/books?id=TBtHAQAAIAAJ |year=1990|publisher=Odisha Sangeet Natak Adademi|pages=84–85}}</ref> '
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[ 0 => '[[File:Sitara Thobani classical dance mudra India (16).jpg|thumb|An h dancer in ''nritya'' (expressive) stage of the dance.]]', 1 => 'Odishee, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odishee performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odis repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odishee is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.', 2 => 'Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krushna-related literature, and as longing eros (''Shreengara'') in its dance arts such as in Odishee, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/>', 3 => 'The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odishee are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}}', 4 => 'Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannatha (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranama'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranama'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref>', 5 => 'The next sequential step in an Odishee performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}}', 6 => 'The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odishee is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Odia songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krushna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}}', 7 => 'A distinctive part of the Odishee tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/>', 8 => 'The three primary dance positions in Odishee are:<ref name="NettlStone1998p520 "/>', 9 => '''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odishee is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/>', 10 => 'The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshawara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref>', 11 => 'The Odishee dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odishee dancers are brightly coloured, and usually of local silk (''Pattashadhee'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}}', 12 => 'The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoota'' with peacock feathers (symbolism for Lord Krushna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref>', 13 => 'Modern Odishee male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}}', 14 => 'Odishee dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref>', 15 => 'Odishee dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}}', 16 => 'An Odishee troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" />', 17 => 'The Odishee tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'':', 18 => '* ''Maharis'' were Odia [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/>' ]
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[ 0 => '[[File:Sitara Thobani Odissi classical dance mudra India (16).jpg|thumb|An Odissi dancer in ''nritya'' (expressive) stage of the dance.]]', 1 => 'Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts.<ref name="Lochtefeld2002p483"/> This drama-dance involved women (''Maharis'') enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the ''Natamandira'' attached to the temple.{{Sfn|Reginald Massey|2004|p=209}} The Odissi performing ''Maharis'' combined pure dance with expression, to play out and communicate the underlying text through ''abhinaya'' (gestures).{{Sfn|Reginald Massey|2004|p=209}}<ref>{{cite book|author=Alexandra Carter|title=Rethinking Dance History: A Reader|url=https://books.google.com/books?id=jYaMAQAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-136-48500-8|pages=149 }}</ref> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called ''Gotipuas'' expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<ref name="Lochtefeld2002p483"/><ref name=carter148/> In the Indian tradition, many of the accomplished ''gotipuas'' became the [[guru]]s (teachers) in their adulthood.<ref name=carter148/> Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.', 2 => 'Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros (''Shringara'') in its dance arts such as in Odissi, from the early times.<ref name=carter148/><ref>{{cite book|author=Archana Verma|title=Performance and Culture: Narrative, Image and Enactment in India|url=https://books.google.com/books?id=iAArBwAAQBAJ |year=2011|publisher=Cambridge Scholars Publishing |isbn= 978-1-4438-2832-1|pages=43–47 }}</ref> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<ref name="Hanna1988p102">{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=102–103 }}</ref> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<ref>{{cite book|author=Judith Lynne Hanna|title=Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire|url=https://books.google.com/books?id=QGJ68sbWFVUC |year=1988|publisher=University of Chicago Press|isbn=978-0-226-31551-5|pages=98–106 }}</ref> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<ref name=carter148/>', 3 => 'The traditional Odissi repertoire, like all classical Indian dances, includes ''Nritta'' (pure dance, solo), ''Nritya'' (dance with emotions, solo) and ''Natya'' (dramatic dance, group).<ref name="NettlStone1998p519 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=519–521 }}</ref>{{Sfn|Reginald Massey|2004|pp=207-214}} These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the ''Natya Shastra'', ''Abhinaya Darpana'' and the 16th-century ''Abhinaya Chandrika'' by Maheshwara Mahapatra of Odisha.<ref name="NettlStone1998p519 "/>{{Sfn|Reginald Massey|2004|pp=207-214}}', 4 => 'Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref>', 5 => 'The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}}', 6 => 'The ''nritya'' follows next, and consists of ''Abhinaya'', or an expressional dance which is an enactment of a song or poetry.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38-39}} The dancer(s) communicate the story in a sign language, using ''[[mudra]]s'' (hand gestures), ''[[bhava]]s'' (enacting mood, emotions), eye and body movement.{{Sfn|Ragini Devi|1990|pp=144-145}} The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in [[Sanskrit]] or [[Odia language]].{{Sfn|Kapila Vatsyayan|1974|pp=38, 65}} Most common are Abhinayas on ''Oriya songs'' or ''Sanskrit Ashthapadis'' or ''Sanskrit stutis'' like ''Dasavatar Stotram'' (depicting the ten incarnations of [[Vishnu|Lord Vishnu]]) or ''[[Ardhanari]] Stotram'' (half man, half woman form of the divine).{{citation needed|date=August 2016}} Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<ref name="Verma2011p43"/> The Astapadis of the Radha-Krishna love poem ''[[Gita Govinda]]'' written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|p=36}}', 7 => 'A distinctive part of the Odissi tradition is the inclusion of ''Moksha'' (or ''Mokshya''<ref name=aroyo267/>) finale in the performance sequence. This the concluding item of a recital.<ref name="NettlStone1998p520 "/> [[Moksha]] in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<ref name=aroyo267/> Movement and pose merge in a fast pace pure dance climax.<ref name="NettlStone1998p520 "/>', 8 => 'The three primary dance positions in Odissi are:<ref name="NettlStone1998p520 "/>', 9 => '''Mudras'' or ''Hastas'' are hand gestures which are used to express the meaning of a given act.<ref name="KothariPasricha1990p64"/> Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 ''Hastas'' in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the ''Abhinaya Chandrika''.{{sfn|Reginald Massey|2004|pp=210-212}}<ref name="KothariPasricha1990p64"/> These are subdivided into three, according to the traditional texts:<ref name="KothariPasricha1990p64"/>', 10 => 'The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient ''Natya Shastra'' of Bharata Muni.<ref name="KothariPasricha1990p64">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=64–67}}</ref>', 11 => 'The Odissi dancers are colorfully dressed with makeup and jewellery. The [[Saree]] worn by Odissi dancers are brightly coloured, and usually of local silk (''Pattasari'').<ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=112–113}}</ref> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<ref name=nettl521/> These sarees have traditional prints of [[Odisha]] with regional designs and embellishments, and may be the [[Sambalpuri Saree]] and [[Bomkai|Bomkai Saree]].{{citation needed|date=August 2016}}', 12 => 'The jewellery includes silver pieces, a metal favored in regional tradition.<ref name=gaston81>{{cite book|author=Anne-Marie Gaston|editor=Hillary P. Rodrigues|title=Studying Hinduism in Practice|url=https://books.google.com/books?id=u9eoAgAAQBAJ&pg=PA81|year=2012|publisher=Routledge |isbn=978-1-136-68097-7 |pages=81 }}</ref> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with ''Seenthi''.<ref name=nettl521/><ref>{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=9–11}}</ref> Their hairstyle may contain a moon shaped crest of white flowers,<ref name=nettl521/> or a reed crown called ''Mukoot'' with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with ''[[Tilaka|Tikka]]'', and adorned with various jewelry such as the ''Allaka'' (head piece on which the tikka hangs). The eyes are ringed with [[Kajal]] (black eyeliner).<ref name="Patnaik1990p115">{{cite book|author=Dhirendranath Patnaik|title=Odissi dance|url=https://books.google.com/books?id=TBtHAQAAIAAJ|year=1990|publisher=Odisha Sangeet Natak Adademi|pages=113–115}}</ref>', 13 => 'Modern Odissi male performers wear ''dhoti'' – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<ref name=nettl521>{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url= https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA319 |year=1998|publisher=Taylor & Francis|isbn=978-0-8240-4946-1 |pages=521 }}</ref>{{Odissi Classical Music sidebar}}', 14 => 'Odissi dance is accompanied by the traditional classical music of the state of Odisha, [[Orissi music|Odissi music]]. The primary Odissi ragas are ''Kalyana'', ''Nata'', ''Shree Gowda'', ''Baradi'', ''Panchama'', ''Dhanashri'', ''Karnata'', ''Bhairavee'' and ''Shokabaradi''.<ref name="orissaculture.gov.in">{{cite web|url=http://orissaculture.gov.in/dance.asp|title=Culture Department|publisher=Orissaculture.gov.in|access-date=2012-05-19}}</ref>', 15 => 'Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the ''[[Raga]]s'' and ''Raginis'', respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.{{Sfn|Ragini Devi|1990|pp=147-149}} Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through ''Parija''.{{Sfn|Ragini Devi|1990|pp=147-149}} This is true whether the performance is formal, or less formal as in ''Nartana'' and ''Natangi'' used during festive occasions and the folksy celebration of life.{{Sfn|Ragini Devi|1990|pp=147-149}}', 16 => 'An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the ''[[Mardala]]'' (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<ref name="NettlStone1998p520" />', 17 => 'The Odissi tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua'':', 18 => '* ''Maharis'' were Oriya [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' (girl), or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed ''Nritta'' (pure dance) and [[Abhinaya]] (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<ref name="KothariPasricha1990p49"/> Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadeva|Jayadev]]'s ''[[Gita Govinda]]''.<ref name="KothariPasricha1990p49">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=41–49 }}</ref> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<ref name="KothariPasricha1990p49"/>' ]
All external links added in the edit (added_links)
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All external links in the new text (all_links)
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'https://books.google.com/books?id=3TKarwqJJP0C', 69 => 'https://books.google.com/books?id=KRz5ykKRVAEC', 70 => 'http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf', 71 => '//doi.org/10.1080%2F08949460490274013', 72 => 'https://books.google.com/books?id=l7naMj1UxIkC', 73 => 'https://books.google.com/books?id=5YqEFKdU8FEC&pg=PA405', 74 => 'https://books.google.com/books?id=-1TroAEACAAJ', 75 => 'https://books.google.com/books?id=t6MJ8jbHqIwC', 76 => 'https://books.google.com/books?id=NrgfAAAAIAAJ', 77 => 'https://books.google.com/books?id=zKW1PAAACAAJ', 78 => '//www.worldcat.org/oclc/233639306', 79 => 'http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf', 80 => '//www.worldcat.org/oclc/2238067', 81 => '//www.worldcat.org/oclc/286469807', 82 => '//doi.org/10.2307%2F3204783', 83 => '//www.jstor.org/stable/3204783', 84 => 'https://www.youtube.com/watch?v=X69dOnl_zKw', 85 => 'https://www.youtube.com/watch?v=qRl3Jdxn1ZQ', 86 => 'https://www.youtube.com/watch?v=52bscmW8x80', 87 => 'http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/', 88 => 'http://www.narthaki.com/odissi/odidivi.htm', 89 => 'https://pad.ma/grid/title/project==Odissi_Archive', 90 => 'https://web.archive.org/web/20090410060341/http://orissagov.nic.in/e-magazine/Orissareview/2008/May-2008/engpdf/The_Story17-19.pdf', 91 => 'https://web.archive.org/web/20060505124201/http://www.bharatbhavankerala.org/oddissi.htm' ]
Links in the page, before the edit (old_links)
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'http://masakoono.com/index.html', 21 => 'http://newindianexpress.com/states/odisha/article335732.ece', 22 => 'http://odishasuntimes.com/2015/12/16/sri-sri-to-visit-odisha-to-prepare-for-world-culture-festival/', 23 => 'http://odishasuntimes.com/2015/12/26/odissi-centre-to-open-at-oxford-university-from-jan/', 24 => 'http://orissaculture.gov.in/dance.asp', 25 => 'http://sangeetnatak.gov.in/sna/guide-snaawards.htm', 26 => 'http://timesofindia.indiatimes.com/home/education/news/IIT-Bhubaneswar-becomes-first-IIT-in-country-to-introduce-dance-as-BTech-subject/articleshow/48911403.cms', 27 => 'http://www.dailypioneer.com/print.php?printFOR=storydetail&story_url_key=odishi-centre-to-open-at-oxford-in-january&section_url_key=state-editions', 28 => 'http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/', 29 => 'http://www.mahagami.com', 30 => 'http://www.mgmu.ac.in', 31 => 'http://www.mopaindia.com/index.html', 32 => 'http://www.narthaki.com/info/articles/art364.html', 33 => 'http://www.narthaki.com/odissi/odidivi.htm', 34 => 'http://www.newindianexpress.com/cities/delhi/2019/may/18/indian-dance-weekend-celebrations-1978536.html', 35 => 'http://www.newindianexpress.com/states/odisha/IIT-Bhubaneswar-Becomes-First-IIT-to-Introduce-Odissi-as-a-Course/2015/09/11/article3022753.ece', 36 => 'http://www.orissa.gov.in/e-magazine/Orissareview/may2006/engpdf/22-29.pdf', 37 => 'http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf', 38 => 'http://www.telegraphindia.com/1100809/jsp/orissa/story_12788878.jsp', 39 => 'http://www.telegraphindia.com/1160113/jsp/odisha/story_63528.jsp', 40 => 'http://www.thehindu.com/news/national/other-states/iitbhubaneswar-to-train-students-in-odissi-too/article7642531.ece', 41 => 'http://www.thesundayindian.com/en/story/guinness-world-records-enlists-odissi-dance-show/29065/', 42 => 'http://zeenews.india.com/entertainment/and-more/live-watch-art-of-living-s-world-culture-festival-2016-day-2_1864974.html', 43 => 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'https://www.academia.edu/2577115', 90 => 'https://www.britannica.com/art/odissi', 91 => 'https://www.jstor.org/stable/25189732', 92 => 'https://www.jstor.org/stable/41692117', 93 => 'https://www.thehindu.com/entertainment/dance/solos-on-stage/article19180685.ece', 94 => 'https://www.thehindu.com/entertainment/music/almost-there/article27298134.ece', 95 => 'https://www.thehindu.com/features/friday-review/dance/taking-classical-dance-to-the-masses/article4977451.ece', 96 => 'https://www.thehindu.com/features/friday-review/dance/mystery-and-magic/article5003550.ece', 97 => 'https://www.youtube.com/watch?v=52bscmW8x80', 98 => 'https://www.youtube.com/watch?v=X69dOnl_zKw', 99 => 'https://www.youtube.com/watch?v=qRl3Jdxn1ZQ' ]
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'<div class="mw-parser-output"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">One of the major classical dances of India</div> <p class="mw-empty-elt"> </p> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Odissi_Performance_DS.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/e/e7/Odissi_Performance_DS.jpg/220px-Odissi_Performance_DS.jpg" decoding="async" width="220" height="357" class="thumbimage" srcset="/media/wikipedia/commons/thumb/e/e7/Odissi_Performance_DS.jpg/330px-Odissi_Performance_DS.jpg 1.5x, /media/wikipedia/commons/thumb/e/e7/Odissi_Performance_DS.jpg/440px-Odissi_Performance_DS.jpg 2x" data-file-width="1500" data-file-height="2432" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Odissi_Performance_DS.jpg" class="internal" title="Enlarge"></a></div>Odishee is a classical dance that originated in <a href="/wiki/Odisha" title="Odisha">Odisha</a>, <a href="/wiki/India" title="India">India</a></div></div></div> <p><b>Odishee</b> (<a href="/wiki/Odia_language" title="Odia language">Odia</a>: <i lang="or-Latn" title="ISO 15919 Indic (Odia language) transliteration">ଓଡ଼ିଶୀ</i>), also referred to as <b>Odishee</b> in older literature, is a major ancient <a href="/wiki/Indian_classical_dance" title="Indian classical dance">Indian classical dance</a> that originated in the <a href="/wiki/Hindu_temple" title="Hindu temple">Hindu temples</a> of <a href="/wiki/Odisha" title="Odisha">Odisha</a> – an eastern coastal state of <a href="/wiki/India" title="India">India</a>.<sup id="cite_ref-britannicaodis_1-0" class="reference"><a href="#cite_note-britannicaodis-1">&#91;1&#93;</a></sup><sup id="cite_ref-FOOTNOTEWilliams200483-84,_the_other_major_classical_Indian_dances_are:_Bharatanatyam,_Kathak,_Kuchipudi,_Kathakali,_Manipuri,_Chhau,_Satriya,_Yaksagana_and_Bhagavata_Mela_2-0" class="reference"><a href="#cite_note-FOOTNOTEWilliams200483-84,_the_other_major_classical_Indian_dances_are:_Bharatanatyam,_Kathak,_Kuchipudi,_Kathakali,_Manipuri,_Chhau,_Satriya,_Yaksagana_and_Bhagavata_Mela-2">&#91;2&#93;</a></sup><sup id="cite_ref-3" class="reference"><a href="#cite_note-3">&#91;3&#93;</a></sup> Odishee, in its history, was performed predominantly by women,<sup id="cite_ref-britannicaodis_1-1" class="reference"><a href="#cite_note-britannicaodis-1">&#91;1&#93;</a></sup><sup id="cite_ref-Claus2003p136_4-0" class="reference"><a href="#cite_note-Claus2003p136-4">&#91;4&#93;</a></sup> and expressed <a href="/wiki/Religious" class="mw-redirect" title="Religious">religious</a> stories and spiritual ideas, particularly of <a href="/wiki/Vaishnavism" title="Vaishnavism">Vaishnavism</a> (Vishnu as <a href="/wiki/Jagannatha" class="mw-redirect" title="Jagannatha">Jagannatha</a>). Odishee performances have also expressed ideas of other traditions such as those related to Hindu gods <a href="/wiki/Shiva" title="Shiva">Shiva</a> and <a href="/wiki/Surya" title="Surya">Surya</a>, as well as Hindu goddesses (<a href="/wiki/Shaktism" title="Shaktism">Shaktism</a>).<sup id="cite_ref-KothariPasricha1990p41_5-0" class="reference"><a href="#cite_note-KothariPasricha1990p41-5">&#91;5&#93;</a></sup> The theoretical foundations of Odishee trace to the ancient Sanskrit text <i><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a></i>, its existence in antiquity evidenced by the dance poses in the sculptures of Odishee Hindu temples,<sup id="cite_ref-britannicaodis_1-2" class="reference"><a href="#cite_note-britannicaodis-1">&#91;1&#93;</a></sup><sup id="cite_ref-Lochtefeld2002p483_6-0" class="reference"><a href="#cite_note-Lochtefeld2002p483-6">&#91;6&#93;</a></sup> and archeological sites related to <a href="/wiki/Hinduism" title="Hinduism">Hinduism</a>, <a href="/wiki/Buddhism" title="Buddhism">Buddhism</a> and <a href="/wiki/Jainism" title="Jainism">Jainism</a>.<sup id="cite_ref-Schechner65_7-0" class="reference"><a href="#cite_note-Schechner65-7">&#91;7&#93;</a></sup><sup id="cite_ref-kyriakidis155_8-0" class="reference"><a href="#cite_note-kyriakidis155-8">&#91;8&#93;</a></sup><sup id="cite_ref-KothariPasricha1990p12_9-0" class="reference"><a href="#cite_note-KothariPasricha1990p12-9">&#91;9&#93;</a></sup> It was suppressed under the <a href="/wiki/British_Rule" class="mw-redirect" title="British Rule">British Rule</a>.<sup id="cite_ref-FOOTNOTERagini_Devi199047-49_10-0" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi199047-49-10">&#91;10&#93;</a></sup><sup id="cite_ref-Carter2013p145_11-0" class="reference"><a href="#cite_note-Carter2013p145-11">&#91;11&#93;</a></sup> The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since <a href="/wiki/India" title="India">India</a> gained independence from the colonial rule.<sup id="cite_ref-kyriakidis155_8-1" class="reference"><a href="#cite_note-kyriakidis155-8">&#91;8&#93;</a></sup> </p><p>Odishee is traditionally a dance-drama genre of <a href="/wiki/Performance_art" title="Performance art">performance art</a>, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the <a href="/wiki/Hindu_texts" title="Hindu texts">Hindu texts</a>, using symbolic costumes,<sup id="cite_ref-12" class="reference"><a href="#cite_note-12">&#91;12&#93;</a></sup> body movement, <i><a href="/wiki/Abhinaya" title="Abhinaya">abhinaya</a></i> (expressions) and <i><a href="/wiki/Mudra" title="Mudra">mudras</a></i> (gestures and <a href="/wiki/Sign_language" title="Sign language">sign language</a>) set out in ancient Sanskrit literature.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13">&#91;13&#93;</a></sup> Classical Odia literature &amp; the <a href="/wiki/Gitagovinda" class="mw-redirect" title="Gitagovinda">Gitagovinda</a> set to traditional <a href="/w/index.php?title=Odishee_music&amp;action=edit&amp;redlink=1" class="new" title="Odishee music (page does not exist)">Odishee music</a> are used for the <i>abhinaya</i>. Odishee is learnt and performed as a composite of basic dance motif called the <i><a href="/wiki/Tribhanga" title="Tribhanga">Bhangas</a></i> (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting <a rel="nofollow" class="external text" href="https://onlinebharatanatyam.com/2010/06/25/eye-movements-or-drishthi-bheda/">expression</a> and audience engagement with geometric symmetry and rhythmic musical resonance.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14">&#91;14&#93;</a></sup><sup id="cite_ref-Vatsyayan1983p57_15-0" class="reference"><a href="#cite_note-Vatsyayan1983p57-15">&#91;15&#93;</a></sup> An Odishee performance repertoire includes invocation, <i>nritta</i> (pure dance), <i>nritya</i> (expressive dance), <i>natya</i> (dance drama) and <i>moksha</i> (dance climax connoting freedom of the <a href="/wiki/Atman_(Hinduism)" class="mw-redirect" title="Atman (Hinduism)">soul</a> and spiritual release).<sup id="cite_ref-NettlStone1998p520_16-0" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup><sup id="cite_ref-aroyo267_17-0" class="reference"><a href="#cite_note-aroyo267-17">&#91;17&#93;</a></sup> </p><p>Traditional Odishee exists in two major styles, the first perfected by women and focussed on solemn, <a href="/wiki/Mahari_dance" title="Mahari dance">spiritual temple dance (<i>maharis</i>)</a>; the second perfected by <a href="/wiki/Gotipua" title="Gotipua">boys dressed as girls (<i>gotipuas</i>)</a><sup id="cite_ref-18" class="reference"><a href="#cite_note-18">&#91;18&#93;</a></sup> which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment.<sup id="cite_ref-Lochtefeld2002p483_6-1" class="reference"><a href="#cite_note-Lochtefeld2002p483-6">&#91;6&#93;</a></sup> Modern Odishee productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19">&#91;19&#93;</a></sup> Odishee was the only Indian dance form present in <a href="/wiki/Michael_Jackson" title="Michael Jackson">Michael Jackson</a>'s 1991 hit single <a href="/wiki/Black_or_White" title="Black or White">Black or White</a>. </p> <style data-mw-deduplicate="TemplateStyles:r1013635363">.mw-parser-output .sidebar{width:22em;float:right;clear:right;margin:0.5em 0 1em 1em;background:#f8f9fa;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%;display:table}body.skin-minerva .mw-parser-output .sidebar{display:table!important;float:right!important;margin:0.5em 0 1em 1em!important}.mw-parser-output .sidebar a{white-space:nowrap}.mw-parser-output .sidebar-wraplinks a{white-space:normal}.mw-parser-output .sidebar-subgroup{width:100%;margin:0;border-spacing:0}.mw-parser-output .sidebar-left{float:left;clear:left;margin:0.5em 1em 1em 0}.mw-parser-output .sidebar-none{float:none;clear:both;margin:0.5em 1em 1em 0}.mw-parser-output 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href="/wiki/Om" title="Om"><img alt="1 Om.svg" src="/media/wikipedia/commons/thumb/3/30/1_Om.svg/100px-1_Om.svg.png" decoding="async" width="100" height="103" srcset="/media/wikipedia/commons/thumb/3/30/1_Om.svg/150px-1_Om.svg.png 1.5x, /media/wikipedia/commons/thumb/3/30/1_Om.svg/200px-1_Om.svg.png 2x" data-file-width="356" data-file-height="367" /></a></td></tr><tr><td class="sidebar-above hlist" style="border:0;"> <ul><li><a href="/wiki/Hindus" title="Hindus">Hindus</a></li> <li><a href="/wiki/History_of_Hinduism" title="History of Hinduism">History</a></li></ul></td></tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hinduism#Origins" title="Hinduism">Origins</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <ul><li><a href="/wiki/History_of_Hinduism" title="History of Hinduism">History</a></li> <li><a href="/wiki/Indus_Valley_Civilisation#Religion" title="Indus Valley Civilisation">Indus Valley Civilisation</a></li> <li><a href="/wiki/Historical_Vedic_religion" title="Historical Vedic religion">Historical Vedic religion</a></li> <li><a href="/wiki/%C5%9Arama%E1%B9%87a" title="Śramaṇa">Śramaṇa</a></li> <li><a href="/wiki/Tribal_religions_in_India" title="Tribal religions in India">Tribal religions in India</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hindu_denominations" title="Hindu denominations">Main traditions</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <ul><li><a href="/wiki/Vaishnavism" title="Vaishnavism">Vaishnavism</a></li> <li><a href="/wiki/Shaivism" title="Shaivism">Shaivism</a></li> <li><a href="/wiki/Shaktism" title="Shaktism">Shaktism</a></li> <li><a href="/wiki/Smartism" class="mw-redirect" title="Smartism">Smartism</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hindu_deities" title="Hindu deities">Deities</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <dl><dd><b><a href="/wiki/Trimurti" title="Trimurti">Trimurti</a></b></dd></dl> <ul><li><a href="/wiki/Brahma" title="Brahma">Brahma</a></li> <li><a href="/wiki/Vishnu" title="Vishnu">Vishnu</a></li> <li><a href="/wiki/Shiva" title="Shiva">Shiva</a></li></ul> <dl><dd><b><a href="/wiki/Tridevi" title="Tridevi">Tridevi</a></b></dd></dl> <ul><li><a href="/wiki/Saraswati" title="Saraswati">Saraswati</a></li> <li><a href="/wiki/Lakshmi" title="Lakshmi">Lakshmi</a></li> <li><a href="/wiki/Parvati" title="Parvati">Parvati</a></li></ul> <hr /> <dl><dd><b>Other major <a href="/wiki/Deva_(Hinduism)" title="Deva (Hinduism)">Devas</a>&#160;/&#32;<a href="/wiki/Devi" title="Devi">Devis</a></b></dd></dl> <ul><li><i><a href="/wiki/Rigvedic_deities" title="Rigvedic deities">Vedic</a></i><br /></li> <li><a href="/wiki/Indra" title="Indra">Indra</a></li> <li><a href="/wiki/Agni" title="Agni">Agni</a></li> <li><a href="/wiki/Prajapati" title="Prajapati">Prajapati</a></li> <li><a href="/wiki/Rudra" title="Rudra">Rudra</a></li> <li><a href="/wiki/Ushas" title="Ushas">Ushas</a></li> <li><a href="/wiki/Varuna" title="Varuna">Varuna</a></li> <li><a href="/wiki/Vayu" title="Vayu">Vayu</a></li></ul> <ul><li><i>Post-Vedic</i><br /></li> <li><a href="/wiki/Durga" title="Durga">Durga</a></li> <li><a href="/wiki/Ganesha" title="Ganesha">Ganesha</a></li> <li><a href="/wiki/Hanuman" title="Hanuman">Hanuman</a></li> <li><a href="/wiki/Kali" title="Kali">Kali</a></li> <li><a href="/wiki/Kartikeya" title="Kartikeya">Kartikeya</a></li> <li><a href="/wiki/Krishna" title="Krishna">Krishna</a></li> <li><a href="/wiki/Radha" title="Radha">Radha</a></li> <li><a href="/wiki/Rama" title="Rama">Rama</a></li> <li><a href="/wiki/Shakti" title="Shakti">Shakti</a></li> <li><a href="/wiki/Sita" title="Sita">Sita</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hindu_philosophy" title="Hindu philosophy">Concepts</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <dl><dd><b>Worldview</b></dd></dl> <ul><li><a href="/wiki/Hindu_cosmology" title="Hindu cosmology">Hindu cosmology</a></li> <li><a href="/wiki/Puranic_chronology" title="Puranic chronology">Puranic chronology</a></li> <li><a href="/wiki/Hindu_mythology" title="Hindu mythology">Hindu mythology</a></li></ul> <dl><dd><b>Supreme Reality</b></dd></dl> <ul><li><a href="/wiki/Brahman" title="Brahman">Brahman</a></li> <li><a href="/wiki/Om" title="Om">Om</a></li></ul> <dl><dd><b>God</b></dd></dl> <ul><li><a href="/wiki/Ishvara" title="Ishvara">Ishvara</a></li> <li><a href="/wiki/God_in_Hinduism" title="God in Hinduism">God in Hinduism</a></li> <li><a href="/wiki/God_and_gender_in_Hinduism" title="God and gender in Hinduism">God and gender</a></li></ul> <dl><dd><b>Life</b></dd></dl> <ul><li><a href="/wiki/Varna_(Hinduism)" title="Varna (Hinduism)">Varna</a><br /> <ul><li><a href="/wiki/Brahmin" title="Brahmin">Brahmana</a></li> <li><a href="/wiki/Kshatriya" title="Kshatriya">Kshatriya</a></li> <li><a href="/wiki/Vaishya" title="Vaishya">Vaishya</a></li> <li><a href="/wiki/Shudra" title="Shudra">Shudra</a></li></ul></li> <li><a href="/wiki/Ashrama_(stage)" title="Ashrama (stage)">Ashrama (stage)</a><br /> <ul><li><a href="/wiki/Brahmacharya" class="mw-redirect" title="Brahmacharya">Brahmacharya</a></li> <li><a href="/wiki/Grihastha" title="Grihastha">Grihastha</a></li> <li><a href="/wiki/Vanaprastha" title="Vanaprastha">Vanaprastha</a></li> <li><a href="/wiki/Sannyasa" title="Sannyasa">Sannyasa</a></li></ul></li> <li><a href="/wiki/Puru%E1%B9%A3%C4%81rtha" title="Puruṣārtha">Purusharthas</a><br /> <ul><li><a href="/wiki/Dharma" title="Dharma">Dharma</a></li> <li><a href="/wiki/Artha" title="Artha">Artha</a></li> <li><a href="/wiki/Kama" title="Kama">Kama</a></li> <li><a href="/wiki/Moksha" title="Moksha">Moksha</a></li></ul></li></ul> <dl><dd><b>Mind</b></dd></dl> <ul><li><a href="/wiki/Antahkarana" title="Antahkarana">Antahkarana</a></li> <li><a href="/wiki/Pramanas" class="mw-redirect" title="Pramanas">Pramanas</a></li> <li><a href="/wiki/Guna" class="mw-redirect" title="Guna">Guna</a></li> <li><a href="/wiki/Ahamkara_(Attachment)" class="mw-redirect" title="Ahamkara (Attachment)">Ahamkara (Attachment)</a></li> <li><a href="/wiki/Uparati_(Cessation)" class="mw-redirect" title="Uparati (Cessation)">Uparati (Self-settledness)</a></li> <li><a href="/wiki/Titiksha" title="Titiksha">Titiksha (Forbearance)</a></li> <li><a href="/wiki/%C4%80nanda_(Hindu_philosophy)" title="Ānanda (Hindu philosophy)">Ānanda (Happiness)</a></li> <li><a href="/wiki/Kshama_(Forgiveness)" class="mw-redirect" title="Kshama (Forgiveness)">Kshama (Forgiveness)</a></li> <li><a href="/wiki/Samatva" title="Samatva">Shama (Equanimity)</a></li> <li><a href="/wiki/Temperance_(virtue)#Hinduism" title="Temperance (virtue)">Dama (Temperance)</a></li> <li><a href="/wiki/Dhyana_in_Hinduism" class="mw-redirect" title="Dhyana in Hinduism">Dhyana (Serenity)</a></li> <li><a href="/wiki/Moksha" title="Moksha">Moksha (Release)</a></li> <li><a href="/wiki/Viveka" title="Viveka">Viveka (Discrimination)</a></li> <li><a href="/wiki/Vairagya_(Dispassion)" class="mw-redirect" title="Vairagya (Dispassion)">Vairagya (Dispassion)</a></li> <li><a href="/wiki/Samadhana" class="mw-redirect" title="Samadhana">Samadhana (Complete Concentration)</a></li> <li><a href="/wiki/Faith_in_Hinduism" title="Faith in Hinduism">Shraddha (Faith)</a></li> <li><a href="/wiki/Shadripu" class="mw-redirect" title="Shadripu">Shadripu (Six Enemies)</a></li></ul> <dl><dd><b>Liberation</b></dd></dl> <ul><li><a href="/wiki/%C4%80tman_(Hinduism)" title="Ātman (Hinduism)">Atman</a></li> <li><a href="/wiki/Maya_(religion)" title="Maya (religion)">Maya</a></li> <li><a href="/wiki/Karma" title="Karma">Karma</a></li> <li><a href="/wiki/Sa%E1%B9%83s%C4%81ra" title="Saṃsāra">Saṃsāra</a></li></ul> <dl><dd><b>Ethics</b></dd></dl> <ul><li><a href="/wiki/Ethics_in_religion#Hindu_ethics" title="Ethics in religion">Niti shastra</a></li> <li><a href="/wiki/Yamas" title="Yamas">Yamas</a></li> <li><a href="/wiki/Niyama" title="Niyama">Niyama</a></li> <li><a href="/wiki/Ahimsa" title="Ahimsa">Ahimsa</a></li> <li><a href="/wiki/Asteya" class="mw-redirect" title="Asteya">Asteya</a></li> <li><a href="/wiki/Aparigraha" class="mw-redirect" title="Aparigraha">Aparigraha</a></li> <li><a href="/wiki/Brahmacharya" class="mw-redirect" title="Brahmacharya">Brahmacharya</a></li> <li><a href="/wiki/Satya" title="Satya">Satya</a></li> <li><a href="/wiki/Temperance_(virtue)#Hinduism" title="Temperance (virtue)">Damah</a></li> <li><a href="/wiki/Compassion#Hinduism" title="Compassion">Dayā</a></li> <li><a href="/wiki/Akrodha" title="Akrodha">Akrodha</a></li> <li><a href="/wiki/%C4%80rjava" class="mw-redirect" title="Ārjava">Ārjava</a></li> <li><a href="/wiki/Santosha" title="Santosha">Santosha</a></li> <li><a href="/wiki/Tapas_(Sanskrit)" class="mw-redirect" title="Tapas (Sanskrit)">Tapas</a></li> <li><a href="/wiki/Sv%C4%81dhy%C4%81ya" title="Svādhyāya">Svādhyāya</a></li> <li><a href="/wiki/Shaucha" title="Shaucha">Shaucha</a></li> <li><a href="/wiki/Mitahara" title="Mitahara">Mitahara</a></li> <li><a href="/wiki/D%C4%81na" title="Dāna">Dāna</a></li> <li><a href="/wiki/Sources_of_dharma" class="mw-redirect" title="Sources of dharma">Sources of dharma</a></li></ul> <dl><dd><b><a href="/wiki/Moksha" title="Moksha">Liberation</a></b></dd></dl> <ul><li><a href="/wiki/Bhakti_yoga" title="Bhakti yoga">Bhakti yoga</a></li> <li><a href="/wiki/Jnana_yoga" title="Jnana yoga">Jnana yoga</a></li> <li><a href="/wiki/Karma_yoga" title="Karma yoga">Karma yoga</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;">Practices</div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"><div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b>Worship</b></div> <ul><li><a href="/wiki/Puja_(Hinduism)" title="Puja (Hinduism)">Puja</a></li> <li><a href="/wiki/%C5%9Arauta" title="Śrauta">Śrauta</a></li> <li><a href="/wiki/Hindu_temple" title="Hindu temple">Temple</a></li> <li><a href="/wiki/Murti" title="Murti">Murti</a></li> <li><a href="/wiki/Bhakti" title="Bhakti">Bhakti</a></li> <li><a href="/wiki/Japa" title="Japa">Japa</a></li> <li><a href="/wiki/Bhajana" class="mw-redirect" title="Bhajana">Bhajana</a></li> <li><a href="/wiki/Yajna" title="Yajna">Yajna</a></li> <li><a href="/wiki/Homa_(ritual)" title="Homa (ritual)">Homa</a></li> <li><a href="/wiki/Vrata" title="Vrata">Vrata</a></li> <li><a href="/wiki/Pr%C4%81ya%C5%9Bcitta" title="Prāyaścitta">Prāyaścitta</a></li> <li><a href="/wiki/Tirtha_(Hinduism)" title="Tirtha (Hinduism)">Tirtha</a></li> <li><a href="/wiki/Hindu_pilgrimage_sites_in_India" title="Hindu pilgrimage sites in India">Tirthadana</a></li> <li><a href="/wiki/Matha" title="Matha">Matha</a></li> <li><a href="/wiki/Indian_classical_dance" title="Indian classical dance">Nritta-Nritya</a></li></ul> <dl><dd><b>Meditation and Charity</b></dd></dl> <ul><li><a href="/wiki/Tapas_(Sanskrit)" class="mw-redirect" title="Tapas (Sanskrit)">Tapa</a></li> <li><a href="/wiki/Dhyana_in_Hinduism" class="mw-redirect" title="Dhyana in Hinduism">Dhyana</a></li> <li><a href="/wiki/D%C4%81na" title="Dāna">Dāna</a></li></ul> <dl><dd><b><a href="/wiki/Yoga" title="Yoga">Yoga</a></b></dd></dl> <ul><li><a href="/wiki/Sadhu" title="Sadhu">Sadhu</a></li> <li><a href="/wiki/Yogi" title="Yogi">Yogi</a></li> <li><a href="/wiki/Asana" title="Asana">Asana</a></li> <li><a href="/wiki/Hatha_yoga" title="Hatha yoga">Hatha yoga</a></li> <li><a href="/wiki/Jnana_yoga" title="Jnana yoga">Jnana yoga</a></li> <li><a href="/wiki/Bhakti_yoga" title="Bhakti yoga">Bhakti yoga</a></li> <li><a href="/wiki/Karma_yoga" title="Karma yoga">Karma yoga</a></li> <li><a href="/wiki/Raja_yoga" class="mw-redirect" title="Raja yoga">Raja yoga</a></li> <li><a href="/wiki/Kundalini_Yoga" class="mw-redirect" title="Kundalini Yoga">Kundalini Yoga</a></li></ul> <div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b><a href="/wiki/Hindu_art" title="Hindu art"> Arts</a></b></div> <ul><li><a href="/wiki/Bharatanatyam" title="Bharatanatyam">Bharatanatyam</a></li> <li><a href="/wiki/Kathak" title="Kathak">Kathak</a></li> <li><a href="/wiki/Kathakali" title="Kathakali">Kathakali</a></li> <li><a href="/wiki/Kuchipudi" title="Kuchipudi">Kuchipudi</a></li> <li><a href="/wiki/Manipuri_dance" title="Manipuri dance"> Manipuri</a></li> <li><a href="/wiki/Mohiniyattam" title="Mohiniyattam">Mohiniyattam</a></li> <li><a class="mw-selflink selflink">Odissi</a></li> <li><a href="/wiki/Sattriya" title="Sattriya">Sattriya</a></li> <li><a href="/wiki/Bhagavata_Mela" title="Bhagavata Mela">Bhagavata Mela</a></li> <li><a href="/wiki/Yakshagana" title="Yakshagana">Yakshagana</a></li> <li><a href="/wiki/Dandiya_Raas" title="Dandiya Raas">Dandiya Raas</a></li> <li><a href="/wiki/Carnatic_music" title="Carnatic music">Carnatic music</a></li> <li><i><a href="/wiki/Pandav_Lila" title="Pandav Lila">Pandav Lila</a></i></li></ul> <div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b><a href="/wiki/Sa%E1%B9%83sk%C4%81ra" class="mw-redirect" title="Saṃskāra">Rites of passage</a></b></div> <ul><li><a href="/wiki/Garbhadhana" title="Garbhadhana">Garbhadhana</a></li> <li><a href="/wiki/Pumsavana" title="Pumsavana">Pumsavana</a></li> <li><a href="/wiki/Simantonayana" class="mw-redirect" title="Simantonayana">Simantonayana</a></li> <li><a href="/wiki/Jatakarma" title="Jatakarma">Jatakarma</a></li> <li><a href="/wiki/Namakarana" class="mw-redirect" title="Namakarana">Namakarana</a></li> <li><a href="/wiki/Nishkramana" title="Nishkramana">Nishkramana</a></li> <li><a href="/wiki/Annaprashana" title="Annaprashana">Annaprashana</a></li> <li><a href="/wiki/Chudakarana" title="Chudakarana">Chudakarana</a></li> <li><a href="/wiki/Karnavedha" title="Karnavedha">Karnavedha</a></li> <li><a href="/wiki/Vidyarambha" class="mw-redirect" title="Vidyarambha">Vidyarambha</a></li> <li><a href="/wiki/Upanayana" title="Upanayana">Upanayana</a></li> <li><a href="/wiki/Keshanta" title="Keshanta">Keshanta</a></li> <li><a href="/wiki/Ritushuddhi" class="mw-redirect" title="Ritushuddhi">Ritushuddhi</a></li> <li><a href="/wiki/Samavartana" class="mw-redirect" title="Samavartana">Samavartana</a></li> <li><a href="/wiki/Hindu_wedding" title="Hindu wedding">Vivaha</a></li> <li><a href="/wiki/Antyeshti" class="mw-redirect" title="Antyeshti">Antyeshti</a></li></ul> <dl><dd><b>Ashrama Dharma</b></dd></dl> <ul><li><a href="/wiki/Ashrama_(stage)" title="Ashrama (stage)">Ashrama</a>: <a href="/wiki/Brahmacharya" class="mw-redirect" title="Brahmacharya">Brahmacharya</a></li> <li><a href="/wiki/Grihastha" title="Grihastha">Grihastha</a></li> <li><a href="/wiki/Vanaprastha" title="Vanaprastha">Vanaprastha</a></li> <li><a href="/wiki/Sannyasa" title="Sannyasa">Sannyasa</a></li></ul> <div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b>Festivals</b></div> <ul><li><a href="/wiki/Diwali" title="Diwali">Diwali</a></li> <li><a href="/wiki/Holi" title="Holi">Holi</a></li> <li><a href="/wiki/Shivaratri" class="mw-redirect" title="Shivaratri">Shivaratri</a></li> <li><a href="/wiki/Navaratri" title="Navaratri">Navaratri</a> <ul><li><a href="/wiki/Durga_Puja" title="Durga Puja">Durga Puja</a></li> <li><a href="/wiki/Ramlila" title="Ramlila">Ramlila</a></li> <li><a href="/wiki/Vijayadashami" title="Vijayadashami">Vijayadashami-Dussehra</a></li></ul></li> <li><a href="/wiki/Raksha_Bandhan" title="Raksha Bandhan">Raksha Bandhan</a></li> <li><a href="/wiki/Ganesh_Chaturthi" title="Ganesh Chaturthi">Ganesh Chaturthi</a></li> <li><a href="/wiki/Vasant_Panchami" title="Vasant Panchami">Vasant Panchami</a></li> <li><a href="/wiki/Rama_Navami" title="Rama Navami">Rama Navami</a></li> <li><a href="/wiki/Krishna_Janmashtami" title="Krishna Janmashtami">Janmashtami</a></li> <li><a href="/wiki/Onam" title="Onam">Onam</a></li> <li><a href="/wiki/Makar_Sankranti" title="Makar Sankranti">Makar Sankranti</a></li> <li><a href="/wiki/Kumbha_Mela" class="mw-redirect" title="Kumbha Mela">Kumbha Mela</a></li> <li><a href="/wiki/Thai_Pongal" class="mw-redirect" title="Thai Pongal">Pongal</a></li> <li><a href="/wiki/Ugadi" title="Ugadi">Ugadi</a></li> <li><a href="/wiki/Vaisakhi" title="Vaisakhi">Vaisakhi</a> <ul><li><a href="/wiki/Bihu" title="Bihu">Bihu</a></li> <li><a href="/wiki/Puthandu" title="Puthandu">Puthandu</a></li> <li><a href="/wiki/Vishu" title="Vishu">Vishu</a></li></ul></li> <li><a href="/wiki/Ratha-Yatra_(Puri)" class="mw-redirect" title="Ratha-Yatra (Puri)">Ratha Yatra</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hindu_philosophy" title="Hindu philosophy">Philosophical schools</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <dl><dd><b><a href="/wiki/Astika" class="mw-redirect" title="Astika">Six Astika schools</a></b></dd></dl> <ul><li><a href="/wiki/Samkhya" title="Samkhya">Samkhya</a></li> <li><a href="/wiki/Yoga_(philosophy)" title="Yoga (philosophy)">Yoga</a></li> <li><a href="/wiki/Nyaya" title="Nyaya">Nyaya</a></li> <li><a href="/wiki/Vaisheshika" title="Vaisheshika">Vaisheshika</a></li> <li><a href="/wiki/Mimamsa" class="mw-redirect" title="Mimamsa">Mimamsa</a></li> <li><a href="/wiki/Vedanta" title="Vedanta">Vedanta</a><br /> <ul><li><i><a href="/wiki/Advaita_Vedanta" title="Advaita Vedanta">Advaita</a></i></li> <li><i><a href="/wiki/Dvaita" class="mw-redirect" title="Dvaita">Dvaita</a></i></li> <li><i><a href="/wiki/Vishishtadvaita" title="Vishishtadvaita">Vishishtadvaita</a></i></li> <li><i><a href="/wiki/Achintya_Bheda_Abheda" title="Achintya Bheda Abheda">Achintya Bheda Abheda</a></i></li></ul></li></ul> <dl><dd><b>Other schools</b></dd></dl> <ul><li><a href="/wiki/Pasupata" class="mw-redirect" title="Pasupata">Pasupata</a></li> <li><a href="/wiki/Shaivism" title="Shaivism">Saiva</a></li> <li><a href="/wiki/Pratyabhijna" title="Pratyabhijna">Pratyabhijña</a></li> <li><a href="/wiki/Charvaka" title="Charvaka">Charvaka</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/List_of_Hindu_gurus_and_sants" title="List of Hindu gurus and sants">Gurus, saints, philosophers</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <dl><dd><b>Ancient</b></dd></dl> <ul><li><a href="/wiki/Agastya" title="Agastya">Agastya</a></li> <li><a href="/wiki/Angiras_(sage)" title="Angiras (sage)">Angiras</a></li> <li><a href="/wiki/Aruni" title="Aruni">Aruni</a></li> <li><a href="/wiki/Ashtavakra" title="Ashtavakra">Ashtavakra</a></li> <li><a href="/wiki/Atri" title="Atri">Atri</a></li> <li><a href="/wiki/Bharadwaja" title="Bharadwaja">Bharadwaja</a></li> <li><a href="/wiki/Nyaya_Sutras" class="mw-redirect" title="Nyaya Sutras">Gotama</a></li> <li><a href="/wiki/Jamadagni" title="Jamadagni">Jamadagni</a></li> <li><a href="/wiki/Jaimini" title="Jaimini">Jaimini</a></li> <li><a href="/wiki/Kanada_(philosopher)" title="Kanada (philosopher)">Kanada</a></li> <li><a href="/wiki/Kapila" title="Kapila">Kapila</a></li> <li><a href="/wiki/Kashyapa" title="Kashyapa">Kashyapa</a></li> <li><a href="/wiki/P%C4%81%E1%B9%87ini" title="Pāṇini">Pāṇini</a></li> <li><a href="/wiki/Patanjali" title="Patanjali">Patanjali</a></li> <li><a href="/wiki/Raikva" title="Raikva">Raikva</a></li> <li><a href="/wiki/Satyakama_Jabala" title="Satyakama Jabala">Satyakama Jabala</a></li> <li><a href="/wiki/Valmiki" title="Valmiki">Valmiki</a></li> <li><a href="/wiki/Vashistha" class="mw-redirect" title="Vashistha">Vashistha</a></li> <li><a href="/wiki/Vishvamitra" title="Vishvamitra">Vishvamitra</a></li> <li><a href="/wiki/Vyasa" title="Vyasa">Vyasa</a></li> <li><a href="/wiki/Yajnavalkya" title="Yajnavalkya">Yajnavalkya</a></li></ul> <dl><dd><b>Medieval</b></dd></dl> <ul><li><a href="/wiki/Nayanars" title="Nayanars">Nayanars</a></li> <li><a href="/wiki/Alvars" title="Alvars">Alvars</a></li> <li><a href="/wiki/Adi_Shankara" title="Adi Shankara">Adi Shankara</a></li> <li><a href="/wiki/Basava" title="Basava">Basava</a></li> <li><a href="/wiki/Akka_Mahadevi" title="Akka Mahadevi">Akka Mahadevi</a></li> <li><a href="/wiki/Allama_Prabhu" title="Allama Prabhu">Allama Prabhu</a></li> <li><a href="/wiki/Siddheshwar" title="Siddheshwar">Siddheshwar</a></li> <li><a href="/wiki/J%C3%B1%C4%81ne%C5%9Bvar" class="mw-redirect" title="Jñāneśvar">Jñāneśvar</a></li> <li><a href="/wiki/Chaitanya_Mahaprabhu" title="Chaitanya Mahaprabhu">Chaitanya</a></li> <li><a href="/wiki/Gangesha_Upadhyaya" title="Gangesha Upadhyaya">Gangesha Upadhyaya</a></li> <li><a href="/wiki/Gaudapada" title="Gaudapada">Gaudapada</a></li> <li><a href="/wiki/Gorakshanath" class="mw-redirect" title="Gorakshanath">Gorakshanath</a></li> <li><a href="/wiki/Jayanta_Bhatta" title="Jayanta Bhatta">Jayanta Bhatta</a></li> <li><a href="/wiki/Kabir" title="Kabir">Kabir</a></li> <li><a href="/wiki/Kum%C4%81rila_Bha%E1%B9%AD%E1%B9%ADa" title="Kumārila Bhaṭṭa">Kumarila Bhatta</a></li> <li><a href="/wiki/Matsyendranath" class="mw-redirect" title="Matsyendranath">Matsyendranath</a></li> <li><a href="/wiki/Mahavatar_Babaji" title="Mahavatar Babaji">Mahavatar Babaji</a></li> <li><a href="/wiki/Madhus%C5%ABdana_Sarasvat%C4%AB" title="Madhusūdana Sarasvatī">Madhusudana</a></li> <li><a href="/wiki/Madhvacharya" title="Madhvacharya">Madhva</a></li> <li><a href="/wiki/Haridasa_Thakur" title="Haridasa Thakur">Haridasa Thakur</a></li> <li><a href="/wiki/Namdev" title="Namdev">Namdeva</a></li> <li><a href="/wiki/Nimbarka" class="mw-redirect" title="Nimbarka">Nimbarka</a></li> <li><a href="/wiki/Prabh%C4%81kara" title="Prabhākara">Prabhakara</a></li> <li><a href="/wiki/Raghunatha_Siromani" title="Raghunatha Siromani">Raghunatha Siromani</a></li> <li><a href="/wiki/Ramanuja" title="Ramanuja">Ramanuja</a></li> <li><a href="/wiki/Sankardev" title="Sankardev">Sankardev</a></li> <li><a href="/wiki/Purandara_Dasa" title="Purandara Dasa">Purandara Dasa</a></li> <li><a href="/wiki/Kanaka_Dasa" title="Kanaka Dasa">Kanaka Dasa</a></li> <li><a href="/wiki/Ramprasad_Sen" title="Ramprasad Sen">Ramprasad Sen</a></li> <li><a href="/wiki/Jagannatha_Dasa" title="Jagannatha Dasa">Jagannatha Dasa</a></li> <li><a href="/wiki/Vyasaraya" class="mw-redirect" title="Vyasaraya">Vyasaraya</a></li> <li><a href="/wiki/Sripadaraya" class="mw-redirect" title="Sripadaraya">Sripadaraya</a></li> <li><a href="/wiki/Raghavendra_Swami" class="mw-redirect" title="Raghavendra Swami">Raghavendra Swami</a></li> <li><a href="/wiki/Gopala_Dasa" title="Gopala Dasa">Gopala Dasa</a></li> <li><a href="/wiki/Syama_Sastri" class="mw-redirect" title="Syama Sastri">Śyāma Śastri</a></li> <li><a href="/wiki/Vedanta_Desika" title="Vedanta Desika">Vedanta Desika</a></li> <li><a href="/wiki/Tyagaraja" title="Tyagaraja">Tyagaraja</a></li> <li><a href="/wiki/Tukaram" title="Tukaram">Tukaram</a></li> <li><a href="/wiki/Tulsidas" title="Tulsidas">Tulsidas</a></li> <li><a href="/wiki/V%C4%81caspati_Mi%C5%9Bra" title="Vācaspati Miśra">Vachaspati Mishra</a></li> <li><a href="/wiki/Vallabha_Acharya" class="mw-redirect" title="Vallabha Acharya">Vallabha</a></li> <li><a href="/wiki/Vidyaranya" title="Vidyaranya">Vidyaranya</a></li></ul> <dl><dd><b>Modern</b></dd></dl> <ul><li><a href="/wiki/Sri_Aurobindo" title="Sri Aurobindo">Aurobindo</a></li> <li><a href="/wiki/Bhaktivinoda_Thakur" title="Bhaktivinoda Thakur">Bhaktivinoda Thakur</a></li> <li><a href="/wiki/Chinmayananda" class="mw-redirect" title="Chinmayananda">Chinmayananda</a></li> <li><a href="/wiki/Dayananda_Saraswati" title="Dayananda Saraswati">Dayananda Saraswati</a></li> <li><a href="/wiki/Maharishi_Mahesh_Yogi" title="Maharishi Mahesh Yogi">Mahesh Yogi</a></li> <li><a href="/wiki/Jaggi_Vasudev" title="Jaggi Vasudev">Jaggi Vasudev</a></li> <li><a href="/wiki/Krishnananda_Saraswati" title="Krishnananda Saraswati">Krishnananda Saraswati</a></li> <li><a href="/wiki/Narayana_Guru" title="Narayana Guru">Narayana Guru</a></li> <li><a href="/wiki/A._C._Bhaktivedanta_Swami_Prabhupada" title="A. C. Bhaktivedanta Swami Prabhupada">Prabhupada</a></li> <li><a href="/wiki/Ramakrishna" title="Ramakrishna">Ramakrishna</a></li> <li><a href="/wiki/Ramana_Maharshi" title="Ramana Maharshi">Ramana Maharshi</a></li> <li><a href="/wiki/Sarvepalli_Radhakrishnan" title="Sarvepalli Radhakrishnan">Radhakrishnan</a></li> <li><a href="/wiki/Bhaktisiddhanta_Sarasvati" title="Bhaktisiddhanta Sarasvati">Sarasvati</a></li> <li><a href="/wiki/Sivananda_Saraswati" title="Sivananda Saraswati">Sivananda</a></li> <li><a href="/wiki/U._G._Krishnamurti" title="U. G. Krishnamurti">U. G. Krishnamurti</a></li> <li><a href="/wiki/Sai_Baba_of_Shirdi" title="Sai Baba of Shirdi">Sai Baba</a></li> <li><a href="/wiki/Swami_Vivekananda" title="Swami Vivekananda">Vivekananda</a></li> <li><a href="/wiki/Nigamananda_Paramahansa" title="Nigamananda Paramahansa">Nigamananda</a></li> <li><a href="/wiki/Paramahansa_Yogananda" title="Paramahansa Yogananda">Yogananda</a></li> <li><a href="/wiki/Ramachandra_Dattatrya_Ranade" title="Ramachandra Dattatrya Ranade">Ramachandra Dattatrya Ranade</a></li> <li><a href="/wiki/Tibbetibaba" title="Tibbetibaba">Tibbetibaba</a></li> <li><a href="/wiki/Trailanga" title="Trailanga">Trailanga</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Hindu_texts" title="Hindu texts">Texts</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"><div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b>Scriptures</b></div> <dl><dd><b><a href="/wiki/Vedas" title="Vedas">Vedas</a></b></dd></dl> <ul><li><a href="/wiki/Rigveda" title="Rigveda">Rigveda</a></li> <li><a href="/wiki/Yajurveda" title="Yajurveda">Yajurveda</a></li> <li><a href="/wiki/Samaveda" title="Samaveda">Samaveda</a></li> <li><a href="/wiki/Atharvaveda" title="Atharvaveda">Atharvaveda</a></li></ul> <dl><dd><b>Divisions</b></dd></dl> <ul><li><a href="/wiki/Samhitapatha" class="mw-redirect" title="Samhitapatha">Samhita</a></li> <li><a href="/wiki/Brahmana" title="Brahmana">Brahmana</a></li> <li><a href="/wiki/Aranyaka" title="Aranyaka">Aranyaka</a></li> <li><a href="/wiki/Upanishad" class="mw-redirect" title="Upanishad">Upanishad</a></li></ul> <dl><dd><b><a href="/wiki/Upanishads" title="Upanishads">Upanishads</a></b></dd></dl> <ul><li><i>Rigveda:</i></li> <li><a href="/wiki/Aitareya_Upanishad" title="Aitareya Upanishad">Aitareya</a></li> <li><a href="/wiki/Kaushitaki_Upanishad" title="Kaushitaki Upanishad">Kaushitaki</a></li></ul> <ul><li><i>Yajurveda:</i></li> <li><a href="/wiki/Brihadaranyaka_Upanishad" title="Brihadaranyaka Upanishad">Brihadaranyaka</a></li> <li><a href="/wiki/Isha_Upanishad" title="Isha Upanishad">Isha</a></li> <li><a href="/wiki/Taittiriya_Upanishad" title="Taittiriya Upanishad">Taittiriya</a></li> <li><a href="/wiki/Katha_Upanishad" title="Katha Upanishad">Katha</a></li> <li><a href="/wiki/Shvetashvatara_Upanishad" title="Shvetashvatara Upanishad">Shvetashvatara</a></li> <li><a href="/wiki/Maitrayaniya_Upanishad" title="Maitrayaniya Upanishad">Maitri</a></li></ul> <ul><li><i>Samaveda:</i></li> <li><a href="/wiki/Chandogya_Upanishad" title="Chandogya Upanishad">Chandogya</a></li> <li><a href="/wiki/Kena_Upanishad" title="Kena Upanishad">Kena</a></li></ul> <ul><li><i>Atharvaveda:</i></li> <li><a href="/wiki/Mundaka_Upanishad" title="Mundaka Upanishad">Mundaka</a></li> <li><a href="/wiki/Mandukya_Upanishad" title="Mandukya Upanishad">Mandukya</a></li> <li><a href="/wiki/Prashna_Upanishad" title="Prashna Upanishad">Prashna</a></li></ul> <dl><dd><b><a href="/wiki/List_of_Hindu_scriptures" class="mw-redirect" title="List of Hindu scriptures">Other scriptures</a></b></dd></dl> <ul><li><a href="/wiki/Bhagavad_Gita" title="Bhagavad Gita">Bhagavad Gita</a></li> <li><a href="/wiki/Agama_(Hinduism)" title="Agama (Hinduism)">Agama (Hinduism)</a></li></ul> <div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b><a href="/wiki/List_of_Hindu_scriptures" class="mw-redirect" title="List of Hindu scriptures">Other texts</a></b></div> <dl><dd><b><a href="/wiki/Vedangas" class="mw-redirect" title="Vedangas">Vedangas</a></b></dd></dl> <ul><li><a href="/wiki/Shiksha" title="Shiksha">Shiksha</a></li> <li><a href="/wiki/Vedic_meter" title="Vedic meter">Chandas</a></li> <li><a href="/wiki/Vyakarana" class="mw-redirect" title="Vyakarana">Vyakarana</a></li> <li><a href="/wiki/Nirukta" title="Nirukta">Nirukta</a></li> <li><a href="/wiki/Kalpa_(Vedanga)" title="Kalpa (Vedanga)">Kalpa</a></li> <li><a href="/wiki/Jyotisha" class="mw-redirect" title="Jyotisha">Jyotisha</a></li></ul> <dl><dd><b><a href="/wiki/Puranas" title="Puranas">Puranas</a></b></dd></dl> <ul><li><a href="/wiki/Vishnu_Purana" title="Vishnu Purana">Vishnu Purana</a></li> <li><b><a href="/wiki/Bhagavata_Purana" title="Bhagavata Purana">Bhagavata Purana</a></b></li> <li><a href="/wiki/N%C4%81radeya_Purana" class="mw-redirect" title="Nāradeya Purana">Nāradeya Purana</a></li> <li><a href="/wiki/Vamana_Purana" title="Vamana Purana">Vāmana Purana</a></li> <li><a href="/wiki/Matsya_Purana" title="Matsya Purana">Matsya Purana</a></li> <li><a href="/wiki/Garuda_Purana" title="Garuda Purana">Garuda Purana</a></li> <li><a href="/wiki/Brahma_Purana" title="Brahma Purana">Brahma Purana</a></li> <li><a href="/wiki/Brahm%C4%81nda_Purana" class="mw-redirect" title="Brahmānda Purana">Brahmānda Purana</a></li> <li><a href="/wiki/Brahma_Vaivarta_Purana" title="Brahma Vaivarta Purana">Brahma Vaivarta Purana</a></li> <li><a href="/wiki/Bhavishya_Purana" title="Bhavishya Purana">Bhavishya Purana</a></li> <li><a href="/wiki/Padma_Purana" title="Padma Purana">Padma Purana</a></li> <li><a href="/wiki/Agni_Purana" title="Agni Purana">Agni Purana</a></li> <li><a href="/wiki/Shiva_Purana" title="Shiva Purana">Shiva Purana</a></li> <li><a href="/wiki/Linga_Purana" title="Linga Purana">Linga Purana</a></li> <li><a href="/wiki/Kurma_Purana" title="Kurma Purana">Kūrma Purana</a></li> <li><a href="/wiki/Skanda_Purana" title="Skanda Purana">Skanda Purana</a></li> <li><a href="/wiki/Varaha_Purana" title="Varaha Purana">Varaha Purana</a></li> <li><a href="/wiki/M%C4%81rkandeya_Purana" class="mw-redirect" title="Mārkandeya Purana">Mārkandeya Purana</a></li></ul> <dl><dd><b><a href="/wiki/Itihasas" class="mw-redirect" title="Itihasas">Itihasas</a></b></dd></dl> <ul><li><a href="/wiki/Ramayana" title="Ramayana">Ramayana</a></li> <li><a href="/wiki/Mahabharata" title="Mahabharata">Mahabharata</a></li></ul> <dl><dd><b><a href="/wiki/Vedas#Upaveda" title="Vedas">Upavedas</a></b></dd></dl> <ul><li><a href="/wiki/Ayurveda" title="Ayurveda">Ayurveda</a></li> <li><a href="/wiki/Dhanurveda" title="Dhanurveda">Dhanurveda</a></li> <li><a href="/wiki/Gandharvaveda" class="mw-redirect" title="Gandharvaveda">Gandharvaveda</a></li> <li><a href="/wiki/Sthapatyaveda" class="mw-redirect" title="Sthapatyaveda">Sthapatyaveda</a></li></ul> <dl><dd><b><a href="/wiki/Hindu_texts" title="Hindu texts">Shastras and Sutras</a></b></dd></dl> <ul><li><a href="/wiki/Dharma%C5%9B%C4%81stra" title="Dharmaśāstra">Dharma Shastra</a></li> <li><a href="/wiki/Arthashastra" title="Arthashastra">Artha Śastra</a></li> <li><a href="/wiki/Shilpa_Shastra" class="mw-redirect" title="Shilpa Shastra">Shilpa Shastra</a></li> <li><a href="/wiki/Kamasutra" class="mw-redirect" title="Kamasutra">Kamasutra</a></li> <li><a href="/wiki/Brahma_Sutras" title="Brahma Sutras">Brahma Sutras</a></li> <li><a href="/wiki/Samkhyapravachana_Sutra" class="mw-redirect" title="Samkhyapravachana Sutra">Samkhya Sutras</a></li> <li><a href="/wiki/Purva_Mimamsa_Sutras" title="Purva Mimamsa Sutras">Mimamsa Sutras</a></li> <li><a href="/wiki/Ny%C4%81ya_S%C5%ABtras" title="Nyāya Sūtras">Nyāya Sūtras</a></li> <li><a href="/wiki/Vai%C5%9Be%E1%B9%A3ika_S%C5%ABtra" title="Vaiśeṣika Sūtra">Vaiśeṣika Sūtra</a></li> <li><a href="/wiki/Yoga_Sutras_of_Patanjali" title="Yoga Sutras of Patanjali">Yoga Sutras</a></li> <li><a href="/wiki/Pramana" title="Pramana">Pramana Sutras</a></li> <li><a href="/wiki/Charaka_Samhita" title="Charaka Samhita">Charaka Samhita</a></li> <li><a href="/wiki/Sushruta_Samhita" title="Sushruta Samhita">Sushruta Samhita</a></li> <li><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a></li> <li><a href="/wiki/Panchatantra" title="Panchatantra">Panchatantra</a></li> <li><a href="/wiki/Divya_Prabandha" class="mw-redirect" title="Divya Prabandha">Divya Prabandha</a></li> <li><a href="/wiki/Tirumurai" title="Tirumurai">Tirumurai</a></li> <li><a href="/wiki/Ramcharitmanas" title="Ramcharitmanas">Ramcharitmanas</a></li> <li><a href="/wiki/Yoga_Vasistha" title="Yoga Vasistha">Yoga Vasistha</a></li> <li><a href="/wiki/Shiva_Swarodaya_/_Swara_Yoga" title="Shiva Swarodaya / Swara Yoga">Swara yoga</a></li> <li><a href="/wiki/Panchadasi" title="Panchadasi">Panchadasi</a></li> <li><a href="/wiki/Stotra" title="Stotra">Stotra</a></li> <li><a href="/wiki/Samhita" title="Samhita">Samhita</a></li> <li><a href="/wiki/S%C5%ABtra" class="mw-redirect" title="Sūtra">Sutras</a></li></ul> <div style="font-size: 100%; background-color:#ffd6ad; border-top:0px dashed"><b>Text classification</b></div> <ul><li><a href="/wiki/%C5%9Aruti" title="Śruti">Śruti</a> <a href="/wiki/Smriti" title="Smriti">Smriti</a></li></ul> <ul><li><b><a href="/wiki/Timeline_of_Hindu_texts" title="Timeline of Hindu texts">Timeline of Hindu texts</a></b></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;">Society</div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; border: 2px solid #FDE7B9"> <ul><li><b><a href="/wiki/Varna_(Hinduism)" title="Varna (Hinduism)">Varna</a></b></li></ul> <ul><li><ul><li><a href="/wiki/Brahmin" title="Brahmin">Brahmin</a></li> <li><a href="/wiki/Kshatriya" title="Kshatriya">Kshatriya</a></li> <li><a href="/wiki/Vaishya" title="Vaishya">Vaishya</a></li> <li><a href="/wiki/Shudra" title="Shudra">Shudra</a></li></ul></li></ul> <ul><li><a href="/wiki/Dalit" title="Dalit">Dalit</a></li> <li><a href="/wiki/J%C4%81ti" title="Jāti">Jati</a></li></ul> <ul><li><a href="/wiki/Persecution_of_Hindus" title="Persecution of Hindus">Persecution</a></li> <li><a href="/wiki/Hindu_nationalism" title="Hindu nationalism">Nationalism</a></li> <li><a href="/wiki/Hindutva" title="Hindutva">Hindutva</a></li> <li><a href="/wiki/List_of_Hindu_organisations" title="List of Hindu organisations">Organisations</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content plainlist"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="border:1px solid #FFC569;background:#FFC569;padding-top:0.15em;padding-left:0.25em; text-align:center;"><a href="/wiki/Portal:Hinduism" title="Portal:Hinduism">Other topics</a></div><div class="sidebar-list-content mw-collapsible-content hlist" style="text-align:center;padding-top:0; background-color:#FDE7B9; 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title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:Hinduism&amp;action=edit"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#History"><span class="tocnumber">1</span> <span class="toctext">History</span></a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Medieval_era"><span class="tocnumber">1.1</span> <span class="toctext">Medieval era</span></a></li> <li class="toclevel-2 tocsection-3"><a href="#Mughal_and_British_period"><span class="tocnumber">1.2</span> <span class="toctext">Mughal and British period</span></a></li> <li class="toclevel-2 tocsection-4"><a href="#Post-independence"><span class="tocnumber">1.3</span> <span class="toctext">Post-independence</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-5"><a href="#Repertoire"><span class="tocnumber">2</span> <span class="toctext">Repertoire</span></a> <ul> <li class="toclevel-2 tocsection-6"><a href="#Sequence"><span class="tocnumber">2.1</span> <span class="toctext">Sequence</span></a></li> <li class="toclevel-2 tocsection-7"><a href="#Basic_moves_and_mudras"><span class="tocnumber">2.2</span> <span class="toctext">Basic moves and mudras</span></a></li> <li class="toclevel-2 tocsection-8"><a href="#Costumes"><span class="tocnumber">2.3</span> <span class="toctext">Costumes</span></a></li> <li class="toclevel-2 tocsection-9"><a href="#Music_and_instruments"><span class="tocnumber">2.4</span> <span class="toctext">Music and instruments</span></a></li> <li class="toclevel-2 tocsection-10"><a href="#Styles"><span class="tocnumber">2.5</span> <span class="toctext">Styles</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-11"><a href="#Schools,_training_and_recognition"><span class="tocnumber">3</span> <span class="toctext">Schools, training and recognition</span></a> <ul> <li class="toclevel-2 tocsection-12"><a href="#Odissi_maestros_and_performers"><span class="tocnumber">3.1</span> <span class="toctext">Odissi maestros and performers</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-13"><a href="#Schools"><span class="tocnumber">4</span> <span class="toctext">Schools</span></a> <ul> <li class="toclevel-2 tocsection-14"><a href="#IIT_Bhubaneswar"><span class="tocnumber">4.1</span> <span class="toctext">IIT Bhubaneswar</span></a></li> <li class="toclevel-2 tocsection-15"><a href="#In_Guinness_World_records"><span class="tocnumber">4.2</span> <span class="toctext">In Guinness World records</span></a></li> <li class="toclevel-2 tocsection-16"><a href="#Odissi_Centre_at_Oxford_University"><span class="tocnumber">4.3</span> <span class="toctext">Odissi Centre at Oxford University</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-17"><a href="#See_also"><span class="tocnumber">5</span> <span class="toctext">See also</span></a></li> <li class="toclevel-1 tocsection-18"><a href="#References"><span class="tocnumber">6</span> <span class="toctext">References</span></a> <ul> <li class="toclevel-2 tocsection-19"><a href="#Bibliography"><span class="tocnumber">6.1</span> <span class="toctext">Bibliography</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-20"><a href="#External_links"><span class="tocnumber">7</span> <span class="toctext">External links</span></a></li> </ul> </div> <h2><span class="mw-headline" id="History">History</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=1" title="Edit section: History">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <p>The foundations of Odishee are found in <i><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a></i>, the ancient Hindu Sanskrit text of performance arts.<sup id="cite_ref-KothariPasricha1990p32_20-0" class="reference"><a href="#cite_note-KothariPasricha1990p32-20">&#91;20&#93;</a></sup><sup id="cite_ref-Kuiper2010p278_21-0" class="reference"><a href="#cite_note-Kuiper2010p278-21">&#91;21&#93;</a></sup> The basic dance units described in <a href="/wiki/Natyashastra" class="mw-redirect" title="Natyashastra">Natyashastra</a>, all 108 of them, are identical to those in Odishee.<sup id="cite_ref-Kuiper2010p278_21-1" class="reference"><a href="#cite_note-Kuiper2010p278-21">&#91;21&#93;</a></sup> </p><p><i><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a></i> is attributed to the ancient scholar <a href="/wiki/Bharata_Muni" title="Bharata Muni">Bharata Muni</a>, and its first complete compilation is dated to between 200&#160;BCE and 200&#160;CE,<sup id="cite_ref-FOOTNOTENatalia_Lidova2014_22-0" class="reference"><a href="#cite_note-FOOTNOTENatalia_Lidova2014-22">&#91;22&#93;</a></sup><sup id="cite_ref-FOOTNOTETarla_Mehta1995xxiv,_19–20_23-0" class="reference"><a href="#cite_note-FOOTNOTETarla_Mehta1995xxiv,_19–20-23">&#91;23&#93;</a></sup> but estimates vary between 500&#160;BCE and 500&#160;CE.<sup id="cite_ref-FOOTNOTEWallace_Dace1963249_24-0" class="reference"><a href="#cite_note-FOOTNOTEWallace_Dace1963249-24">&#91;24&#93;</a></sup> The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.<sup id="cite_ref-FOOTNOTENatalia_Lidova2014_22-1" class="reference"><a href="#cite_note-FOOTNOTENatalia_Lidova2014-22">&#91;22&#93;</a></sup><sup id="cite_ref-FOOTNOTEEmmie_Te_Nijenhuis19741–25_25-0" class="reference"><a href="#cite_note-FOOTNOTEEmmie_Te_Nijenhuis19741–25-25">&#91;25&#93;</a></sup> The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (<a href="/wiki/Shiva" title="Shiva">Shiva</a>), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.<sup id="cite_ref-FOOTNOTENatalia_Lidova2014_22-2" class="reference"><a href="#cite_note-FOOTNOTENatalia_Lidova2014-22">&#91;22&#93;</a></sup><sup id="cite_ref-FOOTNOTEKapila_Vatsyayan2001_26-0" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan2001-26">&#91;26&#93;</a></sup> Dance and performance arts, states this ancient text,<sup id="cite_ref-27" class="reference"><a href="#cite_note-27">&#91;27&#93;</a></sup> are a form of expression of spiritual ideas, virtues and the essence of scriptures.<sup id="cite_ref-mog17_28-0" class="reference"><a href="#cite_note-mog17-28">&#91;28&#93;</a></sup> The <a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a> refers to four <i>vrittis</i> (methods of expressive delivery) in vogue – <i>Avanti</i>, <i>Dakshinatya</i>, <i>Panchali</i> and <i>Odra-Magadhi</i>; of these, the <i>Odra</i> refers to Odisha.<sup id="cite_ref-kothari6_29-0" class="reference"><a href="#cite_note-kothari6-29">&#91;29&#93;</a></sup> </p><p>More direct historical evidence of dance and music as an ancient performance art are found in archaeological sites such as caves and in temple carvings of <a href="/wiki/Bhubaneswar" title="Bhubaneswar">Bhubaneswar</a>, <a href="/wiki/Konark_Sun_Temple" title="Konark Sun Temple">Konark</a> and <a href="/wiki/Puri" title="Puri">Puri</a>.<sup id="cite_ref-Kuiper2010p278_21-2" class="reference"><a href="#cite_note-Kuiper2010p278-21">&#91;21&#93;</a></sup><sup id="cite_ref-30" class="reference"><a href="#cite_note-30">&#91;30&#93;</a></sup> The Manchapuri cave in <a href="/wiki/Udayagiri,_Odisha" title="Udayagiri, Odisha">Udayagiri</a> shows carvings of <a href="/wiki/File:Pragya_Shaw_at_Toronto_Bihu_2019.jpg" title="File:Pragya Shaw at Toronto Bihu 2019.jpg">dance</a> and musicians, and this has been dated to the time of <a href="/wiki/Jainism" title="Jainism">Jain</a> king <a href="/wiki/Kharavela" title="Kharavela">Kharavela</a> in the first or second century BCE. The <a href="/wiki/Hathigumpha_inscription" title="Hathigumpha inscription">Hathigumpha inscriptions</a>, also dated to the same ruler, mention music and dance:<sup id="cite_ref-kothari6_29-1" class="reference"><a href="#cite_note-kothari6-29">&#91;29&#93;</a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31">&#91;31&#93;</a></sup> </p> <blockquote style="background-color:none;margin-right:5em;margin-left:0em;border-left:solid 6px #FFE0BB;padding:1.0em"><p> (he [the king]) versed in the science of the <i>Gandharvas</i> (i.e., music), entertains the capital with the exhibition of <i>dapa</i>, dancing, singing and instrumental music and by causing to be held festivities and assemblies (samajas)...</p><p class="mw-empty-elt"></p> <p>— <i>Hathigumpha inscription, Line 5</i>, ~ 2nd-1st century BCE<sup id="cite_ref-32" class="reference"><a href="#cite_note-32">&#91;32&#93;</a></sup><sup id="cite_ref-33" class="reference"><a href="#cite_note-33">&#91;33&#93;</a></sup> </p> </blockquote> <p>The musical tradition of Odisha also has ancient roots. Archeologists have reported the discovery of 20-key, carefully shaped polished basalt lithophone in <a href="/wiki/Sankarjang" title="Sankarjang">Sankarjang</a>, the highlands of Odisha, which is dated to about 1000 BCE.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34">&#91;34&#93;</a></sup><sup id="cite_ref-35" class="reference"><a href="#cite_note-35">&#91;35&#93;</a></sup> </p> <h3><span class="mw-headline" id="Medieval_era">Medieval era</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=2" title="Edit section: Medieval era">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <div class="thumb tright"><div class="thumbinner" style="width:202px;"><a href="/wiki/File:Odissi_Dancer.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/1/1e/Odissi_Dancer.jpg/200px-Odissi_Dancer.jpg" decoding="async" width="200" height="297" class="thumbimage" srcset="/media/wikipedia/commons/thumb/1/1e/Odissi_Dancer.jpg/300px-Odissi_Dancer.jpg 1.5x, /media/wikipedia/commons/thumb/1/1e/Odissi_Dancer.jpg/400px-Odissi_Dancer.jpg 2x" data-file-width="646" data-file-height="960" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Odissi_Dancer.jpg" class="internal" title="Enlarge"></a></div>Odissi dancer</div></div></div> <p>The <a href="/wiki/Hindu" class="mw-redirect" title="Hindu">Hindu</a>, <a href="/wiki/Jain" class="mw-redirect" title="Jain">Jain</a> and <a href="/wiki/Buddhist" class="mw-redirect" title="Buddhist">Buddhist</a> archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odishee-like postures.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36">&#91;36&#93;</a></sup><sup id="cite_ref-37" class="reference"><a href="#cite_note-37">&#91;37&#93;</a></sup> Historical evidence, states Alexandra Carter, shows that Odishee <i>Maharis</i> (Hindu temple dancers) and dance halls architecture (<i>nata-mandap</i>) were in vogue at least by the 9th century CE.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38">&#91;38&#93;</a></sup> </p><p>According to <a href="/wiki/Kapila_Vatsyayan" title="Kapila Vatsyayan">Kapila Vatsyayan</a>, the <i>Kalpasutra</i> of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses – such as the <i>Samapada</i>, the <i>Tribhangi</i> and the <i>Chuaka</i> of Odishee. This, states Vatsyayan, suggests that Odishee was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39">&#91;39&#93;</a></sup> However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the <i>Abhinaya Chandrika</i> and <i>Abhinaya Darpana</i> provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40">&#91;40&#93;</a></sup> It includes illustrations of the Karanãs mentioned in <i>NãtyaShãstra</i>.<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-0" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup> Similarly, the illustrated Hindu text on temple architecture from Odisha, the <i>Shilpaprakãsha</i>, deals with Odia architecture and sculpture, and includes Odishee postures.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42">&#91;42&#93;</a></sup> </p> <div class="thumb tleft"><div class="thumbinner" style="width:122px;"><a href="/wiki/File:Dancing_Figures.JPG" class="image"><img alt="" src="/media/wikipedia/commons/thumb/f/f0/Dancing_Figures.JPG/120px-Dancing_Figures.JPG" decoding="async" width="120" height="160" class="thumbimage" srcset="/media/wikipedia/commons/thumb/f/f0/Dancing_Figures.JPG/180px-Dancing_Figures.JPG 1.5x, /media/wikipedia/commons/thumb/f/f0/Dancing_Figures.JPG/240px-Dancing_Figures.JPG 2x" data-file-width="3000" data-file-height="4000" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Dancing_Figures.JPG" class="internal" title="Enlarge"></a></div>Musician and dancer relief at the Konark Sun temple.</div></div></div> <p>Actual sculptures that have survived into the modern era and panel <a href="/wiki/Relief" title="Relief">reliefs</a> in Odia temples, dated to be from the 10th to 14th century, show Odishee dance. This is evidenced in <a href="/w/index.php?title=Jagannatha_temple&amp;action=edit&amp;redlink=1" class="new" title="Jagannatha temple (page does not exist)">Jagannatha temple</a> in <a href="/wiki/Puri" title="Puri">Puri</a>, as well as other temples of <a href="/wiki/Vaishnavism" title="Vaishnavism">Vaishnavism</a>, <a href="/w/index.php?title=Shaibism&amp;action=edit&amp;redlink=1" class="new" title="Shaibism (page does not exist)">Shaibism</a>, <a href="/wiki/Shaktism" title="Shaktism">Shaktism</a> and Vedic deities such as <a href="/wiki/Surya" title="Surya">Surya</a> (Sun) in Odisha.<sup id="cite_ref-KothariPasricha1990p41_5-1" class="reference"><a href="#cite_note-KothariPasricha1990p41-5">&#91;5&#93;</a></sup> There are several sculptures of dancers and musicians in <a href="/wiki/Konark_Sun_Temple" title="Konark Sun Temple">Konark Sun Temple</a> and <a href="/wiki/Brahmeswara_Temple" title="Brahmeswara Temple">Brahmeswara Temple</a> in <a href="/wiki/Bhubaneswar" title="Bhubaneswar">Bhubaneswar</a>.<sup id="cite_ref-britannicaodis_1-3" class="reference"><a href="#cite_note-britannicaodis-1">&#91;1&#93;</a></sup><sup id="cite_ref-Lochtefeld2002p483_6-2" class="reference"><a href="#cite_note-Lochtefeld2002p483-6">&#91;6&#93;</a></sup> </p><p>The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired <i>Gitagovinda</i> by 12th century Jayadeva influenced the focus and growth of modern Odishee.<sup id="cite_ref-Verma2011p43_43-0" class="reference"><a href="#cite_note-Verma2011p43-43">&#91;43&#93;</a></sup> Odishee was performed in the temples by the dancers called <i>Maharis</i>, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.<sup id="cite_ref-KothariPasricha1990p41_5-2" class="reference"><a href="#cite_note-KothariPasricha1990p41-5">&#91;5&#93;</a></sup><sup id="cite_ref-Verma2011p43_43-1" class="reference"><a href="#cite_note-Verma2011p43-43">&#91;43&#93;</a></sup> </p> <h3><span class="mw-headline" id="Mughal_and_British_period">Mughal and British period</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=3" title="Edit section: Mughal and British period">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p>After 12th-century, Odia temples, monasteries and nearby institutions such as the <a href="/wiki/Puspagiri" class="mw-redirect" title="Puspagiri">Puspagiri</a> in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists.<sup id="cite_ref-Carter2013p145_11-1" class="reference"><a href="#cite_note-Carter2013p145-11">&#91;11&#93;</a></sup> The official records of Sultan Firuz Shah Tughlaq's invasion in <a href="/wiki/Odisha" title="Odisha">Odisha</a> (1360–1361 CE), for example, describe the destruction of the <a href="/wiki/Jagannath_temple" class="mw-redirect" title="Jagannath temple">Jagannath temple</a> as well as numerous other temples, defacing of dancing statues, and ruining of dance halls.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44">&#91;44&#93;</a></sup> This led to a broad decline in Odishee and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts.<sup id="cite_ref-Carter2013p145_11-2" class="reference"><a href="#cite_note-Carter2013p145-11">&#91;11&#93;</a></sup> During the Sultanate and Mughal era of <a href="/wiki/India" title="India">India</a>, the temple dancers were moved to entertain the Sultan's family and courts.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45">&#91;45&#93;</a></sup> They became associated with <a href="/wiki/Concubinage" title="Concubinage">concubinage</a> to the nobility.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">&#91;<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2016)">citation needed</span></a></i>&#93;</sup> </p> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha,_India.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/f/f7/Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg/220px-Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg" decoding="async" width="220" height="295" class="thumbimage" srcset="/media/wikipedia/commons/thumb/f/f7/Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg/330px-Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg 1.5x, /media/wikipedia/commons/thumb/f/f7/Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg/440px-Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha%2C_India.jpg 2x" data-file-width="3036" data-file-height="4065" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Odissi_is_a_classical_Indian_dance_that_originated_in_Odisha,_India.jpg" class="internal" title="Enlarge"></a></div>A male Odissi dancer</div></div></div> <p>The Odishee dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage.<sup id="cite_ref-carter148_46-0" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> This expansion integrated martial arts (<i>akhanda</i>) and athletics into Odishee dance, by engaging boys and youth called <i>Gotipuas</i>, as a means to physically train the young for the military and to resist foreign invasions.<sup id="cite_ref-carter148_46-1" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> According to Ragini Devi, historical evidence suggests that the <i>Gotipuas</i> tradition was known and nurtured in the 14th century, by Raja of Khordha.<sup id="cite_ref-FOOTNOTERagini_Devi1990142_47-0" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi1990142-47">&#91;47&#93;</a></sup> </p><p>During the <a href="/wiki/British_Raj" title="British Raj">British Raj</a>, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odishee and other Hindu temple dance arts.<sup id="cite_ref-Carter2013p145_11-3" class="reference"><a href="#cite_note-Carter2013p145-11">&#91;11&#93;</a></sup><sup id="cite_ref-marysnodgrass166_48-0" class="reference"><a href="#cite_note-marysnodgrass166-48">&#91;48&#93;</a></sup><sup id="cite_ref-Walker2016p94_49-0" class="reference"><a href="#cite_note-Walker2016p94-49">&#91;49&#93;</a></sup> In 1872, a British civil servant named William Hunter watched a performance at the Jagannatha temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".<sup id="cite_ref-Alexandra_Carter_2013_145–146_50-0" class="reference"><a href="#cite_note-Alexandra_Carter_2013_145–146-50">&#91;50&#93;</a></sup> </p><p>Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms.<sup id="cite_ref-marysnodgrass166_48-1" class="reference"><a href="#cite_note-marysnodgrass166-48">&#91;48&#93;</a></sup> The dancers were dehumanized and stigmatized as prostitutes during the <a href="/wiki/British_India" class="mw-redirect" title="British India">British period</a>.<sup id="cite_ref-amritsri73_51-0" class="reference"><a href="#cite_note-amritsri73-51">&#91;51&#93;</a></sup><sup id="cite_ref-leslieorr8_52-0" class="reference"><a href="#cite_note-leslieorr8-52">&#91;52&#93;</a></sup> In 1910, the British colonial government in India banned temple dancing,<sup id="cite_ref-pallabinilan30_53-0" class="reference"><a href="#cite_note-pallabinilan30-53">&#91;53&#93;</a></sup> and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.<sup id="cite_ref-carter148_46-2" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> </p> <h3><span class="mw-headline" id="Post-independence">Post-independence</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=4" title="Edit section: Post-independence">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p>The temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of <a href="/wiki/India" title="India">India</a>, including Odishee.<sup id="cite_ref-marysnodgrass166_48-2" class="reference"><a href="#cite_note-marysnodgrass166-48">&#91;48&#93;</a></sup><sup id="cite_ref-Walker2016p94_49-1" class="reference"><a href="#cite_note-Walker2016p94-49">&#91;49&#93;</a></sup><sup id="cite_ref-Alexandra_Carter_2013_145–146_50-1" class="reference"><a href="#cite_note-Alexandra_Carter_2013_145–146-50">&#91;50&#93;</a></sup> Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism.<sup id="cite_ref-craine420_54-0" class="reference"><a href="#cite_note-craine420-54">&#91;54&#93;</a></sup> </p><p>Odishee, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Odia poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odishee".<sup id="cite_ref-Carter2013p145_11-4" class="reference"><a href="#cite_note-Carter2013p145-11">&#91;11&#93;</a></sup><sup id="cite_ref-55" class="reference"><a href="#cite_note-55">&#91;55&#93;</a></sup> </p> <h2><span class="mw-headline" id="Repertoire">Repertoire</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=5" title="Edit section: Repertoire">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <div class="thumb tright"><div class="thumbinner" style="width:182px;"><a href="/wiki/Special:Upload?wpDestFile=Sitara_Thobani_classical_dance_mudra_India_(16).jpg" class="new" title="File:Sitara Thobani classical dance mudra India (16).jpg">File:Sitara Thobani classical dance mudra India (16).jpg</a> <div class="thumbcaption">An h dancer in <i>nritya</i> (expressive) stage of the dance.</div></div></div> <p>Odishee, in the classical and medieval period has been, a team dance founded on Hindu texts.<sup id="cite_ref-Lochtefeld2002p483_6-3" class="reference"><a href="#cite_note-Lochtefeld2002p483-6">&#91;6&#93;</a></sup> This drama-dance involved women (<i>Maharis</i>) enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the <i>Natamandira</i> attached to the temple.<sup id="cite_ref-FOOTNOTEReginald_Massey2004209_56-0" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004209-56">&#91;56&#93;</a></sup> The Odishee performing <i>Maharis</i> combined pure dance with expression, to play out and communicate the underlying text through <i>abhinaya</i> (gestures).<sup id="cite_ref-FOOTNOTEReginald_Massey2004209_56-1" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004209-56">&#91;56&#93;</a></sup><sup id="cite_ref-57" class="reference"><a href="#cite_note-57">&#91;57&#93;</a></sup> The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called <i>Gotipuas</i> expanded the Odis repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment.<sup id="cite_ref-Lochtefeld2002p483_6-4" class="reference"><a href="#cite_note-Lochtefeld2002p483-6">&#91;6&#93;</a></sup><sup id="cite_ref-carter148_46-3" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> In the Indian tradition, many of the accomplished <i>gotipuas</i> became the <a href="/wiki/Guru" title="Guru">gurus</a> (teachers) in their adulthood.<sup id="cite_ref-carter148_46-4" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> Modern Odishee is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances. </p><p>Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krushna-related literature, and as longing eros (<i>Shreengara</i>) in its dance arts such as in Odishee, from the early times.<sup id="cite_ref-carter148_46-5" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup><sup id="cite_ref-58" class="reference"><a href="#cite_note-58">&#91;58&#93;</a></sup> Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being".<sup id="cite_ref-Hanna1988p102_59-0" class="reference"><a href="#cite_note-Hanna1988p102-59">&#91;59&#93;</a></sup> Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60">&#91;60&#93;</a></sup> This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".<sup id="cite_ref-carter148_46-6" class="reference"><a href="#cite_note-carter148-46">&#91;46&#93;</a></sup> </p><p>The traditional Odissi repertoire, like all classical Indian dances, includes <i>Nritta</i> (pure dance, solo), <i>Nritya</i> (dance with emotions, solo) and <i>Natya</i> (dramatic dance, group).<sup id="cite_ref-NettlStone1998p519_61-0" class="reference"><a href="#cite_note-NettlStone1998p519-61">&#91;61&#93;</a></sup><sup id="cite_ref-FOOTNOTEReginald_Massey2004207-214_62-0" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004207-214-62">&#91;62&#93;</a></sup> These three performance aspects of Odishee are described and illustrated in the foundational Hindu texts, particularly the <i>Natya Shastra</i>, <i>Abhinaya Darpana</i> and the 16th-century <i>Abhinaya Chandrika</i> by Maheshwara Mahapatra of Odisha.<sup id="cite_ref-NettlStone1998p519_61-1" class="reference"><a href="#cite_note-NettlStone1998p519-61">&#91;61&#93;</a></sup><sup id="cite_ref-FOOTNOTEReginald_Massey2004207-214_62-1" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004207-214-62">&#91;62&#93;</a></sup> </p> <ul><li>The <i>Nritta</i> performance is abstract, fast and rhythmic aspect of the dance.<sup id="cite_ref-koskoff955_63-0" class="reference"><a href="#cite_note-koskoff955-63">&#91;63&#93;</a></sup><sup id="cite_ref-FOOTNOTEReginald_Massey2004207-214_62-2" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004207-214-62">&#91;62&#93;</a></sup> The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.<sup id="cite_ref-Descutner2010p45_64-0" class="reference"><a href="#cite_note-Descutner2010p45-64">&#91;64&#93;</a></sup></li> <li>The <i>Nritya</i> is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<sup id="cite_ref-koskoff955_63-1" class="reference"><a href="#cite_note-koskoff955-63">&#91;63&#93;</a></sup><sup id="cite_ref-FOOTNOTEReginald_Massey2004207-214_62-3" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004207-214-62">&#91;62&#93;</a></sup> In a <i>nritya</i>, the dance-acting expands to include silent expression of words through the <a href="/wiki/Sign_language" title="Sign language">sign language</a> of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<sup id="cite_ref-Descutner2010p45_64-1" class="reference"><a href="#cite_note-Descutner2010p45-64">&#91;64&#93;</a></sup></li> <li>The <i>Natyam</i> is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A <i>Natya</i> incorporates the elements of a <i>Nritya</i>.<sup id="cite_ref-NettlStone1998p519_61-2" class="reference"><a href="#cite_note-NettlStone1998p519-61">&#91;61&#93;</a></sup><sup id="cite_ref-FOOTNOTEReginald_Massey2004207-214_62-4" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004207-214-62">&#91;62&#93;</a></sup></li> <li>The <i>Mokshya</i> is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and serenity in the spiritual.<sup id="cite_ref-aroyo267_17-1" class="reference"><a href="#cite_note-aroyo267-17">&#91;17&#93;</a></sup></li></ul> <p>Odissi dance can be accompanied by both northern Indian (Hindustani) and southern Indian (Carnatic) music, though mainly, recitals are in Odia and Sanskrit language in the <a href="/wiki/Odissi_music" title="Odissi music">Odissi Music</a> tradition.<sup id="cite_ref-NettlStone1998p519_61-3" class="reference"><a href="#cite_note-NettlStone1998p519-61">&#91;61&#93;</a></sup> </p> <h3><span class="mw-headline" id="Sequence">Sequence</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=6" title="Edit section: Sequence">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p>Traditional Odissi repertoire sequence starts with an invocation called <i>Mangalacharana</i>.<sup id="cite_ref-NettlStone1998p520_16-1" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> A <i><a href="/wiki/Shloka" title="Shloka">shloka</a></i> (hymn) in praise of a God or Goddess is sung, such as to Jagannatha (an <a href="/wiki/Avatar" title="Avatar">avatar</a> of Vishnu), the meaning of which is expressed through dance.<sup id="cite_ref-NettlStone1998p520_16-2" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> Mangalacharana is followed by <i>Pushpanjali</i> (offering of flowers) and <i>Bhumi Pranama</i> (salutation to mother earth).<sup id="cite_ref-NettlStone1998p520_16-3" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> The invocation also includes <i>Trikhandi Pranama</i> or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<sup id="cite_ref-65" class="reference"><a href="#cite_note-65">&#91;65&#93;</a></sup> </p> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Mrutyuh.jpg" class="image"><img alt="" src="/media/wikipedia/en/thumb/4/4a/Mrutyuh.jpg/220px-Mrutyuh.jpg" decoding="async" width="220" height="147" class="thumbimage" srcset="/media/wikipedia/en/thumb/4/4a/Mrutyuh.jpg/330px-Mrutyuh.jpg 1.5x, /media/wikipedia/en/4/4a/Mrutyuh.jpg 2x" data-file-width="350" data-file-height="234" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Mrutyuh.jpg" class="internal" title="Enlarge"></a></div>Odissi Dance Drama</div></div></div> <p>The next sequential step in an Odishee performance is <i>Batu</i>, also known as <i>Battu Nrutya</i> or <i>Sthayee Nrutya</i> or <i>Batuka Bhairava</i>.<sup id="cite_ref-NettlStone1998p520_16-4" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup><sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-0" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197438-39-66">&#91;66&#93;</a></sup> It is a fast pace, pure dance (<i>nritta</i>) performed in the honor of <a href="/wiki/Shiva" title="Shiva">Shiva</a>. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful &amp; lyrical movements of the eyes, neck, torso &amp; feet &amp; slowly builds in a crescendo to climax in a fast tempo at the end.<sup id="cite_ref-NettlStone1998p520_16-5" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup><sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-1" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197438-39-66">&#91;66&#93;</a></sup> </p><p>The <i>nritya</i> follows next, and consists of <i>Abhinaya</i>, or an expressional dance which is an enactment of a song or poetry.<sup id="cite_ref-NettlStone1998p520_16-6" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup><sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-2" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197438-39-66">&#91;66&#93;</a></sup> The dancer(s) communicate the story in a sign language, using <i><a href="/wiki/Mudra" title="Mudra">mudras</a></i> (hand gestures), <i><a href="/wiki/Bhava" title="Bhava">bhavas</a></i> (enacting mood, emotions), eye and body movement.<sup id="cite_ref-FOOTNOTERagini_Devi1990144-145_67-0" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi1990144-145-67">&#91;67&#93;</a></sup> The dance is fluid, graceful and sensual. Abhinaya in Odishee is performed to verses recited in <a href="/wiki/Sanskrit" title="Sanskrit">Sanskrit</a> or <a href="/wiki/Odia_language" title="Odia language">Odia language</a>.<sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197438,_65_68-0" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197438,_65-68">&#91;68&#93;</a></sup> Most common are Abhinayas on <i>Odia songs</i> or <i>Sanskrit Ashthapadis</i> or <i>Sanskrit stutis</i> like <i>Dasavatar Stotram</i> (depicting the ten incarnations of <a href="/wiki/Vishnu" title="Vishnu">Lord Vishnu</a>) or <i><a href="/wiki/Ardhanari" class="mw-redirect" title="Ardhanari">Ardhanari</a> Stotram</i> (half man, half woman form of the divine).<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">&#91;<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2016)">citation needed</span></a></i>&#93;</sup> Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme.<sup id="cite_ref-Verma2011p43_43-2" class="reference"><a href="#cite_note-Verma2011p43-43">&#91;43&#93;</a></sup> The Astapadis of the Radha-Krushna love poem <i><a href="/wiki/Gita_Govinda" title="Gita Govinda">Gita Govinda</a></i> written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.<sup id="cite_ref-NettlStone1998p520_16-7" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup><sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197436_69-0" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197436-69">&#91;69&#93;</a></sup> </p><p>The <i>natya</i> part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.<sup id="cite_ref-FOOTNOTEKapila_Vatsyayan197435-37_70-0" class="reference"><a href="#cite_note-FOOTNOTEKapila_Vatsyayan197435-37-70">&#91;70&#93;</a></sup> </p><p>A distinctive part of the Odishee tradition is the inclusion of <i>Moksha</i> (or <i>Mokshya</i><sup id="cite_ref-aroyo267_17-2" class="reference"><a href="#cite_note-aroyo267-17">&#91;17&#93;</a></sup>) finale in the performance sequence. This the concluding item of a recital.<sup id="cite_ref-NettlStone1998p520_16-8" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> <a href="/wiki/Moksha" title="Moksha">Moksha</a> in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.<sup id="cite_ref-aroyo267_17-3" class="reference"><a href="#cite_note-aroyo267-17">&#91;17&#93;</a></sup> Movement and pose merge in a fast pace pure dance climax.<sup id="cite_ref-NettlStone1998p520_16-9" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> </p> <h3><span class="mw-headline" id="Basic_moves_and_mudras">Basic moves and mudras</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=7" title="Edit section: Basic moves and mudras">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Odissi_murals_in_Bhubaneswar.gif" class="image"><img alt="" src="/media/wikipedia/commons/thumb/2/28/Odissi_murals_in_Bhubaneswar.gif/220px-Odissi_murals_in_Bhubaneswar.gif" decoding="async" width="220" height="133" class="thumbimage" srcset="/media/wikipedia/commons/thumb/2/28/Odissi_murals_in_Bhubaneswar.gif/330px-Odissi_murals_in_Bhubaneswar.gif 1.5x, /media/wikipedia/commons/thumb/2/28/Odissi_murals_in_Bhubaneswar.gif/440px-Odissi_murals_in_Bhubaneswar.gif 2x" data-file-width="654" data-file-height="396" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Odissi_murals_in_Bhubaneswar.gif" class="internal" title="Enlarge"></a></div>Odissi mudra murals in Bhubaneswar</div></div></div> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Madhumita_Raut.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/5/50/Madhumita_Raut.jpg/220px-Madhumita_Raut.jpg" decoding="async" width="220" height="329" class="thumbimage" srcset="/media/wikipedia/commons/thumb/5/50/Madhumita_Raut.jpg/330px-Madhumita_Raut.jpg 1.5x, /media/wikipedia/commons/thumb/5/50/Madhumita_Raut.jpg/440px-Madhumita_Raut.jpg 2x" data-file-width="1232" data-file-height="1840" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Madhumita_Raut.jpg" class="internal" title="Enlarge"></a></div>Odissi pose at <a href="/wiki/Konark_Sun_Temple" title="Konark Sun Temple">Konark Sun Temple</a></div></div></div> <p>The basic unit of Odissi are called <i>bhangas</i>. These are made up of eight <i>belis</i>, or body positions and movements, combined in many varieties.<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-1" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup> Motion is <i>uthas</i> (rising or up), <i>baithas</i> (sitting or down) or <i>sthankas</i> (standing).<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-2" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup> The gaits or movement on the dance floor is called <i>chaalis</i>, with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, <i>burhas</i> or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-3" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup> The foot movement or <i>pada bhedas</i> too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-4" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup> </p><p>The three primary dance positions in Odishee are:<sup id="cite_ref-NettlStone1998p520_16-10" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> </p> <ul><li><i>Samabhanga</i> – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent.</li> <li><i>Abhanga</i> – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways.</li> <li><i>Tribhanga</i> – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but <i>tribhanga</i> postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.<sup id="cite_ref-NettlStone1998p520_16-11" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup></li></ul> <p><i>Mudras</i> or <i>Hastas</i> are hand gestures which are used to express the meaning of a given act.<sup id="cite_ref-KothariPasricha1990p64_71-0" class="reference"><a href="#cite_note-KothariPasricha1990p64-71">&#91;71&#93;</a></sup> Like all classical dances of India, the aim of Odishee is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 <i>Hastas</i> in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the <i>Abhinaya Chandrika</i>.<sup id="cite_ref-FOOTNOTEReginald_Massey2004210-212_41-5" class="reference"><a href="#cite_note-FOOTNOTEReginald_Massey2004210-212-41">&#91;41&#93;</a></sup><sup id="cite_ref-KothariPasricha1990p64_71-1" class="reference"><a href="#cite_note-KothariPasricha1990p64-71">&#91;71&#93;</a></sup> These are subdivided into three, according to the traditional texts:<sup id="cite_ref-KothariPasricha1990p64_71-2" class="reference"><a href="#cite_note-KothariPasricha1990p64-71">&#91;71&#93;</a></sup> </p> <ul><li>Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.)</li> <li>Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.)</li> <li>Nrutya Hasta – “Pure Dance” Mudras</li></ul> <p>The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshawara and the ancient <i>Natya Shastra</i> of Bharata Muni.<sup id="cite_ref-KothariPasricha1990p64_71-3" class="reference"><a href="#cite_note-KothariPasricha1990p64-71">&#91;71&#93;</a></sup> </p> <h3><span class="mw-headline" id="Costumes">Costumes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=8" title="Edit section: Costumes">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:The_Odissi_Costume_-_Dipanwita_Roy.jpg" class="image"><img alt="The Odissi costume." src="/media/wikipedia/commons/thumb/d/d4/The_Odissi_Costume_-_Dipanwita_Roy.jpg/220px-The_Odissi_Costume_-_Dipanwita_Roy.jpg" decoding="async" width="220" height="161" class="thumbimage" srcset="/media/wikipedia/commons/thumb/d/d4/The_Odissi_Costume_-_Dipanwita_Roy.jpg/330px-The_Odissi_Costume_-_Dipanwita_Roy.jpg 1.5x, /media/wikipedia/commons/thumb/d/d4/The_Odissi_Costume_-_Dipanwita_Roy.jpg/440px-The_Odissi_Costume_-_Dipanwita_Roy.jpg 2x" data-file-width="504" data-file-height="369" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:The_Odissi_Costume_-_Dipanwita_Roy.jpg" class="internal" title="Enlarge"></a></div>The Odissi costume</div></div></div> <p>The Odishee dancers are colorfully dressed with makeup and jewellery. The <a href="/wiki/Saree" class="mw-redirect" title="Saree">Saree</a> worn by Odishee dancers are brightly coloured, and usually of local silk (<i>Pattashadhee</i>).<sup id="cite_ref-72" class="reference"><a href="#cite_note-72">&#91;72&#93;</a></sup> It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.<sup id="cite_ref-nettl521_73-0" class="reference"><a href="#cite_note-nettl521-73">&#91;73&#93;</a></sup> These sarees have traditional prints of <a href="/wiki/Odisha" title="Odisha">Odisha</a> with regional designs and embellishments, and may be the <a href="/wiki/Sambalpuri_Saree" class="mw-redirect" title="Sambalpuri Saree">Sambalpuri Saree</a> and <a href="/wiki/Bomkai" class="mw-redirect" title="Bomkai">Bomkai Saree</a>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">&#91;<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2016)">citation needed</span></a></i>&#93;</sup> </p><p>The jewellery includes silver pieces, a metal favored in regional tradition.<sup id="cite_ref-gaston81_74-0" class="reference"><a href="#cite_note-gaston81-74">&#91;74&#93;</a></sup> The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with <i>Seenthi</i>.<sup id="cite_ref-nettl521_73-1" class="reference"><a href="#cite_note-nettl521-73">&#91;73&#93;</a></sup><sup id="cite_ref-75" class="reference"><a href="#cite_note-75">&#91;75&#93;</a></sup> Their hairstyle may contain a moon shaped crest of white flowers,<sup id="cite_ref-nettl521_73-2" class="reference"><a href="#cite_note-nettl521-73">&#91;73&#93;</a></sup> or a reed crown called <i>Mukoota</i> with peacock feathers (symbolism for Lord Krushna). The dancers forehead is marked with <i><a href="/wiki/Tilaka" title="Tilaka">Tikka</a></i>, and adorned with various jewelry such as the <i>Allaka</i> (head piece on which the tikka hangs). The eyes are ringed with <a href="/wiki/Kajal" class="mw-redirect" title="Kajal">Kajal</a> (black eyeliner).<sup id="cite_ref-Patnaik1990p115_76-0" class="reference"><a href="#cite_note-Patnaik1990p115-76">&#91;76&#93;</a></sup> </p><p>Ear covers called <i>Kapa</i> or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called <i>Bahichudi</i> or <i>Bajuband</i>, on the upper arm. The wrist is covered with <i>Kankana</i> (bangles).<sup id="cite_ref-Patnaik1990p115_76-1" class="reference"><a href="#cite_note-Patnaik1990p115-76">&#91;76&#93;</a></sup> At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells (<i>ghungroo</i>).<sup id="cite_ref-gaston81_74-1" class="reference"><a href="#cite_note-gaston81-74">&#91;74&#93;</a></sup> The dancer's palms and soles may be painted with red coloured dye called the <i><a href="/wiki/Alta_(dye)" title="Alta (dye)">Alta</a></i>.<sup id="cite_ref-Patnaik1990p115_76-2" class="reference"><a href="#cite_note-Patnaik1990p115-76">&#91;76&#93;</a></sup> </p><p> Modern Odishee male performers wear <i>dhoti</i> – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.<sup id="cite_ref-nettl521_73-3" class="reference"><a href="#cite_note-nettl521-73">&#91;73&#93;</a></sup><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1013635363"/></p><table class="sidebar nomobile hlist"><tbody><tr><td class="sidebar-pretitle">Oṛiśī Sangīta</td></tr><tr><th class="sidebar-title-with-pretitle"><a href="/wiki/Odissi_music" title="Odissi music">Odissi music</a></th></tr><tr><td class="sidebar-image"><a href="/wiki/File:Patitapaban.jpeg" class="image"><img alt="Patitapaban.jpeg" src="/media/wikipedia/commons/thumb/9/90/Patitapaban.jpeg/180px-Patitapaban.jpeg" decoding="async" width="180" height="285" srcset="/media/wikipedia/commons/thumb/9/90/Patitapaban.jpeg/270px-Patitapaban.jpeg 1.5x, /media/wikipedia/commons/thumb/9/90/Patitapaban.jpeg/360px-Patitapaban.jpeg 2x" data-file-width="3388" data-file-height="5357" /></a><div class="sidebar-caption">Mahāprabhu <a href="/wiki/Jagannatha" class="mw-redirect" title="Jagannatha">Jagannātha</a></div></td></tr><tr><th class="sidebar-heading"> Composers</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Jayadeva" title="Jayadeva"><i>Mahākabi</i> Jayadeva</a></li> <li><a href="/wiki/Dinakrushna_Das" title="Dinakrushna Das">Dīnakruṣṇa Dāsa</a></li> <li><a href="/wiki/Upendra_Bhanja" title="Upendra Bhanja"><i>Kabi Samrāta</i> Upendra Bhanja</a></li> <li><a href="/wiki/Banamali_Dasa" title="Banamali Dasa">Banamāḷī Dāsa</a></li> <li><a href="/w/index.php?title=Abhimanyu_Samantasinghara&amp;action=edit&amp;redlink=1" class="new" title="Abhimanyu Samantasinghara (page does not exist)">Abhimanyu Sāmantasinghāra</a></li> <li><a href="/wiki/Baladeba_Ratha" title="Baladeba Ratha"><i>Kabisūrjya</i> Baḷadeba Ratha</a></li> <li><a href="/wiki/Gopalakrusna_Pattanayaka" title="Gopalakrusna Pattanayaka"><i>Kabikaḷahansa</i> Gopāḷakruṣṇa Pattanāyaka</a></li> <li><a href="/w/index.php?title=Bhaktacharana_Dasa&amp;action=edit&amp;redlink=1" class="new" title="Bhaktacharana Dasa (page does not exist)">Bhaktacharaṇa Dāsa</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Shāstras</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/w/index.php?title=Sangitasara&amp;action=edit&amp;redlink=1" class="new" title="Sangitasara (page does not exist)"><i>Sangītasāra</i></a></li> <li><a href="/wiki/Gitaprakasa" title="Gitaprakasa"><i>Gītaprakāśa</i></a></li> <li><a href="/w/index.php?title=Sangitanarayana&amp;action=edit&amp;redlink=1" class="new" title="Sangitanarayana (page does not exist)"><i>Sangītanārāyana</i></a></li> <li><a href="/w/index.php?title=Sangitamuktabali&amp;action=edit&amp;redlink=1" class="new" title="Sangitamuktabali (page does not exist)"><i>Sangītamuktābaḷī</i></a></li> <li><a href="/w/index.php?title=Sangitakalpalatika&amp;action=edit&amp;redlink=1" class="new" title="Sangitakalpalatika (page does not exist)"><i>Sangītakaḷpalatikā</i></a></li> <li><a href="/w/index.php?title=Sangitarnavachandrika&amp;action=edit&amp;redlink=1" class="new" title="Sangitarnavachandrika (page does not exist)"><i>Sangītārṇavachandrikā</i></a></li> <li><a href="/w/index.php?title=Sangitakaumudi&amp;action=edit&amp;redlink=1" class="new" title="Sangitakaumudi (page does not exist)"><i>Sangītakaumudī</i></a></li></ul></td> </tr><tr><th class="sidebar-heading"> Compositions</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Gita_Govinda" title="Gita Govinda">Gitagovinda</a></li> <li><a href="/wiki/Chaupadi" class="mw-redirect" title="Chaupadi">Chaupadi or Odissi Prabandha</a></li> <li><a href="/w/index.php?title=Chhanda&amp;action=edit&amp;redlink=1" class="new" title="Chhanda (page does not exist)">Chhānda</a></li> <li><a href="/wiki/Champu" title="Champu">Champū</a></li> <li><a href="/wiki/Chautisa" title="Chautisa">Chautiśā</a></li> <li><a href="/w/index.php?title=Janana_(Odissi_music)&amp;action=edit&amp;redlink=1" class="new" title="Janana (Odissi music) (page does not exist)">Jaṇāṇa</a></li> <li><a href="/wiki/Bhajana" class="mw-redirect" title="Bhajana">Bhajana</a></li> <li><a href="/w/index.php?title=Malasri&amp;action=edit&amp;redlink=1" class="new" title="Malasri (page does not exist)">Māḷaśrī</a></li> <li><a href="/w/index.php?title=Koili_(Odissi_music)&amp;action=edit&amp;redlink=1" class="new" title="Koili (Odissi music) (page does not exist)">Koili</a></li> <li><a href="/w/index.php?title=Pallabi_(Odissi_music)&amp;action=edit&amp;redlink=1" class="new" title="Pallabi (Odissi music) (page does not exist)">Pallabī</a></li> <li><a href="/wiki/Charyapada" class="mw-redirect" title="Charyapada">Charjyāpada</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Instruments</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Mardala" title="Mardala">Mardaḷa</a></li> <li><a href="/wiki/Flute" title="Flute">Beṇu</a></li> <li><a href="/wiki/Veena" title="Veena">Bīṇā</a></li> <li><a href="/wiki/Khola" title="Khola">Khoḷa</a></li> <li><a href="/wiki/Violin" title="Violin">Behelā</a></li> <li><a href="/wiki/Khanjani" title="Khanjani">Khañjaṇi</a></li></ul></td> </tr><tr><td class="sidebar-below"> <ul><li><a href="/w/index.php?title=List_of_Odissi_musicians&amp;action=edit&amp;redlink=1" class="new" title="List of Odissi musicians (page does not exist)">Musicians</a></li> <li><a href="/w/index.php?title=Glossary_of_Odissi_music&amp;action=edit&amp;redlink=1" class="new" title="Glossary of Odissi music (page does not exist)">Glossary</a></li></ul></td></tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Odissi_Classical_Music_sidebar" title="Template:Odissi Classical Music sidebar"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/w/index.php?title=Template_talk:Odissi_Classical_Music_sidebar&amp;action=edit&amp;redlink=1" class="new" title="Template talk:Odissi Classical Music sidebar (page does not exist)"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:Odissi_Classical_Music_sidebar&amp;action=edit"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <h3><span class="mw-headline" id="Music_and_instruments">Music and instruments</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=9" title="Edit section: Music and instruments">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Odissi_music" title="Odissi music">Odissi music</a></div> <p>Odishee dance is accompanied by the traditional classical music of the state of Odisha, <a href="/wiki/Orissi_music" class="mw-redirect" title="Orissi music">Odissi music</a>. The primary Odissi ragas are <i>Kalyana</i>, <i>Nata</i>, <i>Shree Gowda</i>, <i>Baradi</i>, <i>Panchama</i>, <i>Dhanashri</i>, <i>Karnata</i>, <i>Bhairavee</i> and <i>Shokabaradi</i>.<sup id="cite_ref-orissaculture.gov.in_77-0" class="reference"><a href="#cite_note-orissaculture.gov.in-77">&#91;77&#93;</a></sup> </p><p>Odishee dance, states Ragini Devi, is a form of "visualized music", wherein the <i><a href="/wiki/Raga" title="Raga">Ragas</a></i> and <i>Raginis</i>, respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer.<sup id="cite_ref-FOOTNOTERagini_Devi1990147-149_78-0" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi1990147-149-78">&#91;78&#93;</a></sup> Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through <i>Parija</i>.<sup id="cite_ref-FOOTNOTERagini_Devi1990147-149_78-1" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi1990147-149-78">&#91;78&#93;</a></sup> This is true whether the performance is formal, or less formal as in <i>Nartana</i> and <i>Natangi</i> used during festive occasions and the folksy celebration of life.<sup id="cite_ref-FOOTNOTERagini_Devi1990147-149_78-2" class="reference"><a href="#cite_note-FOOTNOTERagini_Devi1990147-149-78">&#91;78&#93;</a></sup> </p><p>An Odishee troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the <i><a href="/wiki/Mardala" title="Mardala">Mardala</a></i> (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.<sup id="cite_ref-NettlStone1998p520_16-12" class="reference"><a href="#cite_note-NettlStone1998p520-16">&#91;16&#93;</a></sup> </p> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Odissi_group_performance.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/4/44/Odissi_group_performance.jpg/220px-Odissi_group_performance.jpg" decoding="async" width="220" height="147" class="thumbimage" srcset="/media/wikipedia/commons/thumb/4/44/Odissi_group_performance.jpg/330px-Odissi_group_performance.jpg 1.5x, /media/wikipedia/commons/thumb/4/44/Odissi_group_performance.jpg/440px-Odissi_group_performance.jpg 2x" data-file-width="1296" data-file-height="864" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Odissi_group_performance.jpg" class="internal" title="Enlarge"></a></div>Odissi group performance</div></div></div> <h3><span class="mw-headline" id="Styles">Styles</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=10" title="Edit section: Styles">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p>The Odishee tradition existed in three schools: <i>Mahari, Nartaki</i>, and <i>Gotipua</i>: </p> <ul><li><i>Maharis</i> were Odia <a href="/wiki/Devadasi" title="Devadasi">devadasis</a> or temple girls, their name deriving from <i>Maha</i> (great) and <i>Nari</i> (girl), or <i>Mahri</i> (chosen) particularly those at the temple of <a href="/wiki/Jagganath" class="mw-redirect" title="Jagganath">Jagganath</a> at <a href="/wiki/Puri" title="Puri">Puri</a>. Early Maharis performed <i>Nritta</i> (pure dance) and <a href="/wiki/Abhinaya" title="Abhinaya">Abhinaya</a> (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.<sup id="cite_ref-KothariPasricha1990p49_79-0" class="reference"><a href="#cite_note-KothariPasricha1990p49-79">&#91;79&#93;</a></sup> Later, Maharis especially performed dance sequences based on the lyrics of <a href="/wiki/Jayadeva" title="Jayadeva">Jayadev</a>'s <i><a href="/wiki/Gita_Govinda" title="Gita Govinda">Gita Govinda</a></i>.<sup id="cite_ref-KothariPasricha1990p49_79-1" class="reference"><a href="#cite_note-KothariPasricha1990p49-79">&#91;79&#93;</a></sup> This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.<sup id="cite_ref-KothariPasricha1990p49_79-2" class="reference"><a href="#cite_note-KothariPasricha1990p49-79">&#91;79&#93;</a></sup></li> <li><i>Gotipuas</i> were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.<sup id="cite_ref-KothariPasricha1990p49_79-3" class="reference"><a href="#cite_note-KothariPasricha1990p49-79">&#91;79&#93;</a></sup></li> <li><i>Nartaki</i> dance took place in the royal courts, where it was prevalent before the British period.<sup id="cite_ref-80" class="reference"><a href="#cite_note-80">&#91;80&#93;</a></sup><sup id="cite_ref-81" class="reference"><a href="#cite_note-81">&#91;81&#93;</a></sup></li></ul> <h2><span id="Schools.2C_training_and_recognition"></span><span class="mw-headline" id="Schools,_training_and_recognition">Schools, training and recognition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=11" title="Edit section: Schools, training and recognition">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Kasturi_Pattanaik-Photo-3.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/d/d5/Kasturi_Pattanaik-Photo-3.jpg/220px-Kasturi_Pattanaik-Photo-3.jpg" decoding="async" width="220" height="141" class="thumbimage" srcset="/media/wikipedia/commons/thumb/d/d5/Kasturi_Pattanaik-Photo-3.jpg/330px-Kasturi_Pattanaik-Photo-3.jpg 1.5x, /media/wikipedia/commons/thumb/d/d5/Kasturi_Pattanaik-Photo-3.jpg/440px-Kasturi_Pattanaik-Photo-3.jpg 2x" data-file-width="4522" data-file-height="2888" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Kasturi_Pattanaik-Photo-3.jpg" class="internal" title="Enlarge"></a></div>The performer is in an Odissi Dance Abhinaya, based on the popular Indian epic-Ramayan</div></div></div> <h3><span class="mw-headline" id="Odissi_maestros_and_performers">Odissi maestros and performers</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=12" title="Edit section: Odissi maestros and performers">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p><a href="/wiki/Kelucharan_Mohapatra" title="Kelucharan Mohapatra">Kelucharan Mohapatra</a>, Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. <a href="/wiki/Sanjukta_Panigrahi" title="Sanjukta Panigrahi">Sanjukta Panigrahi</a> was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, <a href="/wiki/Kumkum_Mohanty" title="Kumkum Mohanty">Kumkum Mohanty</a> and <a href="/wiki/Sonal_Mansingh" title="Sonal Mansingh">Sonal Mansingh</a>, were known for their performances in India and abroad. Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival.<sup id="cite_ref-82" class="reference"><a href="#cite_note-82">&#91;82&#93;</a></sup> Guru <a href="/wiki/Mayadhar_Raut" title="Mayadhar Raut">Mayadhar Raut</a> played a pivotal role in giving Odissi dance its classical status. He introduced <i>Mudra Vinyoga</i> in 1955 and <i>Sancharibhava</i> in the Odissi dance items, and portrayed <i>Shringara Rasa</i> in <i><a href="/wiki/Gita_Govinda" title="Gita Govinda">Gita Govinda</a> Ashthapadis</i>. His notable compositions include <i>Pashyati Dishi Dishi</i> and <i>Priya Charu Shile</i>, composed in 1961.<sup id="cite_ref-83" class="reference"><a href="#cite_note-83">&#91;83&#93;</a></sup> Odissi and Kathak exponent and researcher Parwati Dutta has contributed towards research and revival<sup id="cite_ref-84" class="reference"><a href="#cite_note-84">&#91;84&#93;</a></sup> of lesser-known or lost aspects of Odissi like Odissi Taal system, <a rel="nofollow" class="external text" href="http://www.narthaki.com/info/articles/art364.html">Vadya Pallavi</a> , Buddhist and Shaiva period Odissi. She has also pioneered in introducing and nurturing <sup id="cite_ref-85" class="reference"><a href="#cite_note-85">&#91;85&#93;</a></sup> Odissi in Marathwada region of Maharashtra, India through <a rel="nofollow" class="external text" href="http://www.mahagami.com">Mahagami Gurukul</a> and has introduced a complete module of learning by combining the Dance-Gurukul with a school and a University so as to cater to a range of learners and aspirants. </p><p>In the evolution of Odissi Dance from its traditional format to contemporary shape, <a href="/wiki/Kasturi_Pattanaik" title="Kasturi Pattanaik">Kasturi Pattanaik</a>,<sup id="cite_ref-86" class="reference"><a href="#cite_note-86">&#91;86&#93;</a></sup> a leading exponent of Odissi Dance, has played a major role. Through her new creations in Odissi Dance, she has left deep artistic impact in the evolution and growth of Odissi Dance.<sup id="cite_ref-87" class="reference"><a href="#cite_note-87">&#91;87&#93;</a></sup> She has introduced new concepts, new techniques and new themes in Odissi Dance repertory. Her choreographies<sup id="cite_ref-88" class="reference"><a href="#cite_note-88">&#91;88&#93;</a></sup> provided linkages with the evolution of Odissi Dance from its formative Mahari, Gotipua to its current version. Being an accomplished Odissi musician, she has a distinct contribution in integrating the pure Odissi music in Odissi Dance, thereby enhancing the classicality of Odissi Dance in its contemporary format. </p> <h2><span class="mw-headline" id="Schools">Schools</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=13" title="Edit section: Schools">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1013635363"/><table class="sidebar nomobile vcard hlist" style="border:1px double #003A6C; background:#FFFFFF;"><tbody><tr><td class="sidebar-pretitle"><b><span style="color:#000000;">This article is part of <a href="/wiki/Category:Odisha" title="Category:Odisha"><span style="color:#000000;">a series</span></a> on</span></b></td></tr><tr><th class="sidebar-title-with-pretitle navbox-title" style="background:#003A6C; color:#FFFFFF; border:1px double #003A6C;"><a href="/wiki/Odisha" title="Odisha"><span style="color:#FFFFFF;">Odisha</span></a></th></tr><tr><td class="sidebar-image"><a href="/wiki/File:Seal_of_Odisha.png" class="image" title="Emblem of Odisha"><img alt="Emblem of Odisha" src="/media/wikipedia/commons/thumb/f/fe/Seal_of_Odisha.png/70px-Seal_of_Odisha.png" decoding="async" width="70" height="76" srcset="/media/wikipedia/commons/thumb/f/fe/Seal_of_Odisha.png/105px-Seal_of_Odisha.png 1.5x, /media/wikipedia/commons/thumb/f/fe/Seal_of_Odisha.png/140px-Seal_of_Odisha.png 2x" data-file-width="812" data-file-height="880" /></a></td></tr><tr><th class="sidebar-heading" style="background:#FFFFFF; color:#FFFFFF; border:1px double #003A6C;"> <a href="/wiki/Government_of_Odisha" title="Government of Odisha">Governance</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/List_of_governors_of_Odisha" title="List of governors of Odisha">Governors</a></li> <li><a href="/wiki/List_of_chief_ministers_of_Odisha" title="List of chief ministers of Odisha">Chief Ministers</a></li> <li><a href="/wiki/Odisha_Legislative_Assembly" title="Odisha Legislative Assembly">Legislative Assembly</a></li> <li><a href="/wiki/Category:Political_parties_in_Odisha" title="Category:Political parties in Odisha">Political parties</a></li> <li><a href="/wiki/Orissa_High_Court" title="Orissa High Court">High Court</a></li> <li><a href="/wiki/Odisha_Police" title="Odisha Police">Police</a></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#FFFFFF; color:#FFFFFF; border:1px double #003A6C;"> <a href="/wiki/Category:Odisha" title="Category:Odisha">Topics</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Arts_of_Odisha" title="Arts of Odisha">Arts</a></li> <li><a href="/wiki/Cinema_of_Odisha" title="Cinema of Odisha">Cinema</a></li> <li><a href="/wiki/Cuisine_of_Odisha" title="Cuisine of Odisha">Cuisine</a></li> <li><a href="/wiki/Culture_of_Odisha" title="Culture of Odisha">Culture</a> <ul><li><a href="/wiki/Odia_Hindu_wedding" title="Odia Hindu wedding">Odia Hindu wedding</a></li></ul></li> <li><a href="/wiki/Economy_of_Odisha" title="Economy of Odisha">Economy</a></li> <li><a href="/wiki/Education_in_Odisha" title="Education in Odisha">Education</a></li> <li><a href="/wiki/Elections_in_Odisha" title="Elections in Odisha">Elections</a></li> <li><a href="/wiki/Festivals_of_Odisha" title="Festivals of Odisha">Festivals</a></li> <li><a href="/wiki/Flora_and_fauna_of_Odisha" title="Flora and fauna of Odisha">Flora and fauna</a></li> <li><a href="/wiki/Geography_of_Odisha" title="Geography of Odisha">Geography</a></li> <li><a href="/wiki/Deomali_(mountain)" title="Deomali (mountain)">Highest point</a></li> <li><a href="/wiki/History_of_Odisha" title="History of Odisha">History</a> <ul><li><a href="/wiki/Historic_sites_in_Odisha" title="Historic sites in Odisha">Historic sites</a></li> <li><a href="/wiki/Maritime_history_of_Odisha" title="Maritime history of Odisha">Maritime history</a></li> <li><a href="/wiki/List_of_rulers_of_Odisha" title="List of rulers of Odisha">Rulers</a></li></ul></li> <li><a href="/wiki/Odia_language" title="Odia language">Language</a> <ul><li><a href="/wiki/Odia_script" title="Odia script">Script</a></li> <li><a href="/wiki/The_Orissa_Official_Language_Act,_1954" title="The Orissa Official Language Act, 1954">Act</a></li> <li><a href="/wiki/Odia_literature" title="Odia literature">Literature</a></li> <li><a href="/wiki/Odia_grammar" title="Odia grammar">Grammar</a></li></ul></li> <li><a href="/wiki/Odia_people" title="Odia people">People</a> <ul><li><a href="/wiki/List_of_Scheduled_Tribes_in_Odisha" title="List of Scheduled Tribes in Odisha">Tribes</a></li></ul></li> <li><a class="mw-selflink selflink">Odissi (dance)</a></li> <li><a href="/wiki/Odissi_music" title="Odissi music">Odissi music</a></li> <li><a href="/wiki/Politics_of_Odisha" title="Politics of Odisha">Politics</a></li> <li><a href="/wiki/Sports_in_Odisha" title="Sports in Odisha">Sports</a></li> <li><a href="/wiki/Tourism_in_Odisha" title="Tourism in Odisha">Tourism</a></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#FFFFFF; color:#FFFFFF; border:1px double #003A6C;"> <a href="/wiki/List_of_districts_of_Odisha" title="List of districts of Odisha">Districts</a> <br /> <a href="/wiki/Divisions_of_Odisha" class="mw-redirect" title="Divisions of Odisha">Divisions</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Angul_district" title="Angul district">Angul</a></li> <li><a href="/wiki/Balangir_district" title="Balangir district">Balangir</a></li> <li><a href="/wiki/Balasore_district" title="Balasore district">Balasore</a></li> <li><a href="/wiki/Bargarh_district" title="Bargarh district">Bargarh</a></li> <li><a href="/wiki/Bhadrak_district" title="Bhadrak district">Bhadrak</a></li> <li><a href="/wiki/Boudh_district" title="Boudh district">Boudh</a></li> <li><a href="/wiki/Cuttack_district" title="Cuttack district">Cuttack</a></li> <li><a href="/wiki/Debagarh_district" title="Debagarh district">Debagarh</a></li> <li><a href="/wiki/Dhenkanal_district" title="Dhenkanal district">Dhenkanal</a></li> <li><a href="/wiki/Gajapati_district" title="Gajapati district">Gajapati</a></li> <li><a href="/wiki/Ganjam_district" title="Ganjam district">Ganjam</a></li> <li><a href="/wiki/Jagatsinghpur_district" title="Jagatsinghpur district">Jagatsinghpur</a></li> <li><a href="/wiki/Jharsuguda_district" title="Jharsuguda district">Jharsuguda</a></li> <li><a href="/wiki/Jajpur_district" title="Jajpur district">Jajpur</a></li> <li><a href="/wiki/Kalahandi_district" title="Kalahandi district">Kalahandi</a></li> <li><a href="/wiki/Kandhamal_district" title="Kandhamal district">Kandhamal</a></li> <li><a href="/wiki/Kendrapara_district" title="Kendrapara district">Kendrapara</a></li> <li><a href="/wiki/Kendujhar_district" title="Kendujhar district">Kendujhar</a></li> <li><a href="/wiki/Khordha_district" title="Khordha district">Khordha</a></li> <li><a href="/wiki/Koraput_district" title="Koraput district">Koraput</a></li> <li><a href="/wiki/Malkangiri_district" title="Malkangiri district">Malkangiri</a></li> <li><a href="/wiki/Mayurbhanj_district" title="Mayurbhanj district">Mayurbhanj</a></li> <li><a href="/wiki/Nabarangpur_district" title="Nabarangpur district">Nabrangpur</a></li> <li><a href="/wiki/Nayagarh_district" title="Nayagarh district">Nayagarh</a></li> <li><a href="/wiki/Nuapada_district" title="Nuapada district">Nuapada</a></li> <li><a href="/wiki/Puri_district" title="Puri district">Puri</a></li> <li><a href="/wiki/Rayagada_district" title="Rayagada district">Rayagada</a></li> <li><a href="/wiki/Sambalpur_district" title="Sambalpur district">Sambalpur</a></li> <li><a href="/wiki/Subarnapur_district" title="Subarnapur district">Subarnapur</a></li> <li><a href="/wiki/Sundergarh_district" title="Sundergarh district">Sundergarh</a></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#FFFFFF; color:#FFFFFF; border:1px double #003A6C;"> <a href="/wiki/Geographical_indication" title="Geographical indication">GI Products</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Berhampur_Patta" title="Berhampur Patta">Berhampur Patta</a></li> <li><a href="/wiki/Bomkai_Sari" class="mw-redirect" title="Bomkai Sari">Bomkai Sari</a></li> <li><a href="/wiki/Dhalapathar_Parda_%26_Fabrics" title="Dhalapathar Parda &amp; Fabrics">Dhalapathar Parda &amp; Fabrics</a></li> <li><a href="/wiki/Ganjam_Kewda_Flower" title="Ganjam Kewda Flower">Ganjam Kewda Flower</a></li> <li><a href="/wiki/Ganjam_Kewda_Rooh" title="Ganjam Kewda Rooh">Ganjam Kewda Rooh</a></li> <li><a href="/wiki/Gopalpur_Tussar_Fabrics" title="Gopalpur Tussar Fabrics">Gopalpur Tussar Fabrics</a></li> <li><a href="/wiki/Habaspuri_Saree_%26_Fabrics" class="mw-redirect" title="Habaspuri Saree &amp; Fabrics">Habaspuri Saree &amp; Fabrics</a></li> <li><a href="/wiki/Khandua" title="Khandua">Khandua</a></li> <li><a href="/wiki/Konark_stone_carving" class="mw-redirect" title="Konark stone carving">Konark stone carving</a></li> <li><a href="/wiki/Kotpad_Handloom_fabrics" title="Kotpad Handloom fabrics">Kotpad Handloom fabrics</a></li> <li><a href="/wiki/Odisha_Ikat" title="Odisha Ikat">Odisha Ikat</a></li> <li><a href="/wiki/Pattachitra" title="Pattachitra">Pattachitra</a></li> <li><a href="/wiki/Pipili_applique_work" class="mw-redirect" title="Pipili applique work">Pipili applique work</a></li> <li><a href="/wiki/Sambalpuri_saree" class="mw-redirect" title="Sambalpuri saree">Sambalpuri saree</a></li> <li><a href="/wiki/Rasgulla" title="Rasgulla">Rasgulla</a></li></ul></td> </tr><tr><td class="sidebar-below"> <a href="/wiki/File:Flag_of_India.svg" class="image"><img alt="Flag of India.svg" src="/media/wikipedia/en/thumb/4/41/Flag_of_India.svg/32px-Flag_of_India.svg.png" decoding="async" width="32" height="21" class="noviewer" srcset="/media/wikipedia/en/thumb/4/41/Flag_of_India.svg/48px-Flag_of_India.svg.png 1.5x, /media/wikipedia/en/thumb/4/41/Flag_of_India.svg/64px-Flag_of_India.svg.png 2x" data-file-width="1350" data-file-height="900" /></a>&#160;<a href="/wiki/Portal:India" title="Portal:India">India&#32;portal</a></td></tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:State_of_Odisha" title="Template:State of Odisha"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:State_of_Odisha" title="Template talk:State of Odisha"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:State_of_Odisha&amp;action=edit"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <p>Srjan (Guru <a href="/wiki/Kelucharan_Mohapatra" title="Kelucharan Mohapatra">Kelucharan Mohapatra</a> Odissi Nrityabasa) is a premier Odissi dance school &amp; training institution founded by Guru <a href="/wiki/Kelucharan_Mohapatra" title="Kelucharan Mohapatra">Kelucharan Mohapatra</a> in <a href="/wiki/Bhubaneswar" title="Bhubaneswar">Bhubaneswar</a>, <a href="/wiki/Odisha" title="Odisha">Odisha</a> in 1993. Now run by his son &amp; disciple, Guru <a href="/wiki/Ratikant_Mohapatra" title="Ratikant Mohapatra">Ratikant Mohapatra</a>, Srjan is committed to preserving and popularizing the rich culture of Odissi by maintaining high standards of performance &amp; professionalism. Regular dance classes for local students &amp; special classes for foreigners are augmented by summer workshops, performances, new choreographies &amp; dance and music Guru <a href="/wiki/Kelucharan_Mohapatra" title="Kelucharan Mohapatra">Kelucharan Mohapatra</a> Award festival organizing since 1995. </p><p>MOPA (<a rel="nofollow" class="external text" href="http://www.mopaindia.com/index.html">Masako Ono Performing Arts</a>) was established in 2010 by International Odissi dancer <a rel="nofollow" class="external text" href="http://masakoono.com/index.html">Masako Ono</a>. Masako started dancing at the age of 4 and in 1996 she joined NRITYAGRAM, the dance village started by the noted Odissi dancer, late <a href="/wiki/Protima_Bedi" title="Protima Bedi">PROTIMA GAURI BEDI</a>, and won a scholarship for her studies. Subsequently, she has been living in Orissa where she received further training in Odissi from GURU <a href="/wiki/Kelucharan_Mohapatra" title="Kelucharan Mohapatra">KELUCHARAN MOHAPATRA</a> and many more. She is the only Japanese Odissi dancer, an empanelled Artist of ICCR, Indian Council for Cultural Relations, Govt. of India. She has been selected as one of the 100 most respected Japanese in the world by the Newsweek Japan in 2008. </p> <h3><span class="mw-headline" id="IIT_Bhubaneswar">IIT Bhubaneswar</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=14" title="Edit section: IIT Bhubaneswar">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p>Odissi has been included in <a href="/wiki/Indian_Institute_of_Technology_Bhubaneswar" class="mw-redirect" title="Indian Institute of Technology Bhubaneswar">Indian Institute of Technology Bhubaneswar</a>'s <a href="/wiki/BTech" class="mw-redirect" title="BTech">BTech</a> syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.<sup id="cite_ref-TOI11September2015_89-0" class="reference"><a href="#cite_note-TOI11September2015-89">&#91;89&#93;</a></sup><sup id="cite_ref-Hin12September2015_90-0" class="reference"><a href="#cite_note-Hin12September2015-90">&#91;90&#93;</a></sup><sup id="cite_ref-NIE12September2015_91-0" class="reference"><a href="#cite_note-NIE12September2015-91">&#91;91&#93;</a></sup> </p> <div class="thumb tleft"><div class="thumbinner" style="width:162px;"><a href="/wiki/File:GWR_attempt_for_largest_Odissi_Dance.jpg" class="image"><img alt="" src="/media/wikipedia/commons/thumb/5/50/GWR_attempt_for_largest_Odissi_Dance.jpg/160px-GWR_attempt_for_largest_Odissi_Dance.jpg" decoding="async" width="160" height="122" class="thumbimage" srcset="/media/wikipedia/commons/thumb/5/50/GWR_attempt_for_largest_Odissi_Dance.jpg/240px-GWR_attempt_for_largest_Odissi_Dance.jpg 1.5x, /media/wikipedia/commons/thumb/5/50/GWR_attempt_for_largest_Odissi_Dance.jpg/320px-GWR_attempt_for_largest_Odissi_Dance.jpg 2x" data-file-width="2213" data-file-height="1692" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:GWR_attempt_for_largest_Odissi_Dance.jpg" class="internal" title="Enlarge"></a></div><a href="/wiki/Guinness_World_Records" title="Guinness World Records">Guinness World Records</a> on the largest Odissi dance event.</div></div></div> <h3><span class="mw-headline" id="In_Guinness_World_records">In Guinness World records</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=15" title="Edit section: In Guinness World records">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <p><a href="/wiki/Guinness_World_Records" title="Guinness World Records">Guinness World Records</a> has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the <i>Mangalacharan, Battu, Pallavi, Abhinay</i> and <i>Mokshya</i> dance items from the Odissi repertoire.<sup id="cite_ref-92" class="reference"><a href="#cite_note-92">&#91;92&#93;</a></sup><sup id="cite_ref-93" class="reference"><a href="#cite_note-93">&#91;93&#93;</a></sup> </p><p>More than 1000 Odissi dancers performed at the World Cultural Festival<sup id="cite_ref-94" class="reference"><a href="#cite_note-94">&#91;94&#93;</a></sup><sup id="cite_ref-95" class="reference"><a href="#cite_note-95">&#91;95&#93;</a></sup> March 12, 2016. This is till date the largest congregation of Odissi dancers in a single event. </p> <h3><span class="mw-headline" id="Odissi_Centre_at_Oxford_University">Odissi Centre at Oxford University</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=16" title="Edit section: Odissi Centre at Oxford University">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <div class="thumb tright"><div class="thumbinner" style="width:182px;"><a href="/wiki/File:Oxford_Odissi_Centre.JPG" class="image"><img alt="" src="/media/wikipedia/commons/thumb/3/3f/Oxford_Odissi_Centre.JPG/180px-Oxford_Odissi_Centre.JPG" decoding="async" width="180" height="135" class="thumbimage" srcset="/media/wikipedia/commons/thumb/3/3f/Oxford_Odissi_Centre.JPG/270px-Oxford_Odissi_Centre.JPG 1.5x, /media/wikipedia/commons/thumb/3/3f/Oxford_Odissi_Centre.JPG/360px-Oxford_Odissi_Centre.JPG 2x" data-file-width="4896" data-file-height="3672" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Oxford_Odissi_Centre.JPG" class="internal" title="Enlarge"></a></div><a href="/wiki/Baisali_Mohanty" title="Baisali Mohanty">Baisali Mohanty</a> announcing the <a href="/wiki/Oxford_Odissi_Centre" title="Oxford Odissi Centre">Oxford Odissi Centre</a>.</div></div></div> <p>An Odissi dance centre has been opened from January, 2016, at the <a href="/wiki/University_of_Oxford" title="University of Oxford">University of Oxford</a>.<sup id="cite_ref-96" class="reference"><a href="#cite_note-96">&#91;96&#93;</a></sup> Known as <a href="/wiki/Oxford_Odissi_Centre" title="Oxford Odissi Centre">Oxford Odissi Centre</a>, it is an initiative of the Odissi dancer and choreographer <a href="/wiki/Baisali_Mohanty" title="Baisali Mohanty">Baisali Mohanty</a> who is also a post-graduate scholar at the <a href="/wiki/University_of_Oxford" title="University of Oxford">University of Oxford</a>.<sup id="cite_ref-97" class="reference"><a href="#cite_note-97">&#91;97&#93;</a></sup> </p><p>Beside holding regular Odissi dance classes at its institution, the <a href="/wiki/Oxford_Odissi_Centre" title="Oxford Odissi Centre">Oxford Odissi Centre</a> also conducts Odissi dance workshops at other academic institutions in the United Kingdom.<sup id="cite_ref-98" class="reference"><a href="#cite_note-98">&#91;98&#93;</a></sup><sup id="cite_ref-99" class="reference"><a href="#cite_note-99">&#91;99&#93;</a></sup> </p><p><b>University Degrees and Gurukul Training in Odissi</b> </p><p>MAHAGAMI GURUKUL has been offering training in Guru-Shishya tradition in Odissi since 1996 and is the first in Maharashtra state in India to offer University Degree programs in Odissi. <a rel="nofollow" class="external text" href="http://www.mahagami.com">MAHAGAMI</a> is led by eminent Odissi and Kathak artiste Parwati Dutta who is Director of the Gurukul and Dean of <a rel="nofollow" class="external text" href="http://www.mgmu.ac.in">MGM University</a>, Performing Arts Faculty. </p> <h2><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=17" title="Edit section: See also">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <ul><li><a href="/wiki/Indian_classical_dance" title="Indian classical dance">Indian classical dance</a></li> <li><a href="/wiki/Ghungroo" title="Ghungroo">Ghungroo</a></li> <li><a href="/wiki/Odissi_music" title="Odissi music">Odissi music</a></li> <li><a href="/wiki/Gotipua" title="Gotipua">Gotipua</a></li></ul> <h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=18" title="Edit section: References">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <style data-mw-deduplicate="TemplateStyles:r1011085734">.mw-parser-output .reflist{font-size:90%;margin-bottom:0.5em;list-style-type:decimal}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-britannicaodis-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-britannicaodis_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-britannicaodis_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-britannicaodis_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-britannicaodis_1-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/odissi">Odissi</a> <i>Encyclopædia Britannica</i> (2013)</span> </li> <li id="cite_note-FOOTNOTEWilliams200483-84,_the_other_major_classical_Indian_dances_are:_Bharatanatyam,_Kathak,_Kuchipudi,_Kathakali,_Manipuri,_Chhau,_Satriya,_Yaksagana_and_Bhagavata_Mela-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWilliams200483-84,_the_other_major_classical_Indian_dances_are:_Bharatanatyam,_Kathak,_Kuchipudi,_Kathakali,_Manipuri,_Chhau,_Satriya,_Yaksagana_and_Bhagavata_Mela_2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWilliams2004">Williams 2004</a>, pp.&#160;83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Chhau, Satriya, Yaksagana and Bhagavata Mela.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r999302996">.mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:linear-gradient(transparent,transparent),url("/media/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:linear-gradient(transparent,transparent),url("/media/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:linear-gradient(transparent,transparent),url("/media/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:linear-gradient(transparent,transparent),url("/media/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20131014000750/http://sangeetnatak.gov.in/sna/guide-snaawards.htm">"Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar"</a>. Archived from <a rel="nofollow" class="external text" href="http://sangeetnatak.gov.in/sna/guide-snaawards.htm">the original</a> on 14 October 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">6 November</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=unknown&amp;rft.btitle=Guidelines+for+Sangeet+Natak+Akademi+Ratna+and+Akademi+Puraskar&amp;rft_id=http%3A%2F%2Fsangeetnatak.gov.in%2Fsna%2Fguide-snaawards.htm&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Claus2003p136-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-Claus2003p136_4-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFPeter_J._ClausSarah_DiamondMargaret_Ann_Mills2003" class="citation book cs1">Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ienxrTPHzzwC"><i>South Asian Folklore: An Encyclopedia</i></a>. Routledge. p.&#160;136. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-415-93919-5" title="Special:BookSources/978-0-415-93919-5"><bdi>978-0-415-93919-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=South+Asian+Folklore%3A+An+Encyclopedia&amp;rft.pages=136&amp;rft.pub=Routledge&amp;rft.date=2003&amp;rft.isbn=978-0-415-93919-5&amp;rft.au=Peter+J.+Claus&amp;rft.au=Sarah+Diamond&amp;rft.au=Margaret+Ann+Mills&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DienxrTPHzzwC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-KothariPasricha1990p41-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-KothariPasricha1990p41_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p41_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p41_5-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;4–6, 41. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=4-6%2C+41&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span>, <b>Quote:</b> "There are other temples too in Odisha where the <i>maharis</i> used to dance. Besides the temple of Lord Jagannatha, <i>maharis</i> were employed in temples dedicated to Shiva and Shakti."</span> </li> <li id="cite_note-Lochtefeld2002p483-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-Lochtefeld2002p483_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lochtefeld2002p483_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Lochtefeld2002p483_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Lochtefeld2002p483_6-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Lochtefeld2002p483_6-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFJames_G._Lochtefeld2002" class="citation book cs1">James G. Lochtefeld (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=g6FsB3psOTIC"><i>The Illustrated Encyclopedia of Hinduism: N-Z</i></a>. The Rosen Publishing Group. pp.&#160;484–485. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8239-3180-4" title="Special:BookSources/978-0-8239-3180-4"><bdi>978-0-8239-3180-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Illustrated+Encyclopedia+of+Hinduism%3A+N-Z&amp;rft.pages=484-485&amp;rft.pub=The+Rosen+Publishing+Group&amp;rft.date=2002&amp;rft.isbn=978-0-8239-3180-4&amp;rft.au=James+G.+Lochtefeld&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dg6FsB3psOTIC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Schechner65-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-Schechner65_7-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFRichard_Schechner2010" class="citation book cs1">Richard Schechner (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DoEaulAxbu8C&amp;pg=PA65"><i>Between Theater and Anthropology</i></a>. University of Pennsylvania Press. pp.&#160;65–66. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8122-0092-8" title="Special:BookSources/978-0-8122-0092-8"><bdi>978-0-8122-0092-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Between+Theater+and+Anthropology&amp;rft.pages=65-66&amp;rft.pub=University+of+Pennsylvania+Press&amp;rft.date=2010&amp;rft.isbn=978-0-8122-0092-8&amp;rft.au=Richard+Schechner&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DDoEaulAxbu8C%26pg%3DPA65&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-kyriakidis155-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-kyriakidis155_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-kyriakidis155_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFEvangelos_Kyriakidis2007" class="citation book cs1">Evangelos Kyriakidis (2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=e34KAQAAMAAJ"><i>The archaeology of ritual</i></a>. Cotsen Institute of Archaeology, University of California Press. pp.&#160;155–158. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-931745-48-2" title="Special:BookSources/978-1-931745-48-2"><bdi>978-1-931745-48-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+archaeology+of+ritual&amp;rft.pages=155-158&amp;rft.pub=Cotsen+Institute+of+Archaeology%2C+University+of+California+Press&amp;rft.date=2007&amp;rft.isbn=978-1-931745-48-2&amp;rft.au=Evangelos+Kyriakidis&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3De34KAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-KothariPasricha1990p12-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-KothariPasricha1990p12_9-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;9–10, 12. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=9-10%2C+12&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span>, <b>Quote:</b> The art of dance and music suffered on account of political instability, the Muslim invasion, the desecration of the temples and the loss of independence, the lack of patronage to both the <i>maharis</i> and the <i>gotipua</i> dancers..."</span> </li> <li id="cite_note-FOOTNOTERagini_Devi199047-49-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERagini_Devi199047-49_10-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRagini_Devi1990">Ragini Devi 1990</a>, pp.&#160;47-49.</span> </li> <li id="cite_note-Carter2013p145-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Carter2013p145_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Carter2013p145_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Carter2013p145_11-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Carter2013p145_11-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Carter2013p145_11-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlexandra_Carter2013" class="citation book cs1">Alexandra Carter (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jYaMAQAAQBAJ"><i>Rethinking Dance History: A Reader</i></a>. Routledge. pp.&#160;144–145. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-48500-8" title="Special:BookSources/978-1-136-48500-8"><bdi>978-1-136-48500-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Rethinking+Dance+History%3A+A+Reader&amp;rft.pages=144-145&amp;rft.pub=Routledge&amp;rft.date=2013&amp;rft.isbn=978-1-136-48500-8&amp;rft.au=Alexandra+Carter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjYaMAQAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFStephanie_Arnold2014" class="citation book cs1">Stephanie Arnold (2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=pn1zCgAAQBAJ&amp;pg=PA9"><i>The Creative Spirit: An Introduction to Theatre</i></a>. McGraw Hill. p.&#160;9. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-07-777389-2" title="Special:BookSources/978-0-07-777389-2"><bdi>978-0-07-777389-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Creative+Spirit%3A+An+Introduction+to+Theatre&amp;rft.pages=9&amp;rft.pub=McGraw+Hill&amp;rft.date=2014&amp;rft.isbn=978-0-07-777389-2&amp;rft.au=Stephanie+Arnold&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dpn1zCgAAQBAJ%26pg%3DPA9&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;1–4, 76–77. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=1-4%2C+76-77&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. p.&#160;50. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=50&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Vatsyayan1983p57-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-Vatsyayan1983p57_15-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan1983" class="citation book cs1">Kapila Vatsyayan (1983). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=2sKfAAAAMAAJ"><i>The square and the circle of the Indian arts</i></a>. Roli Books International. pp.&#160;57–58.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+square+and+the+circle+of+the+Indian+arts&amp;rft.pages=57-58&amp;rft.pub=Roli+Books+International&amp;rft.date=1983&amp;rft.au=Kapila+Vatsyayan&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D2sKfAAAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-NettlStone1998p520-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-NettlStone1998p520_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-NettlStone1998p520_16-12"><sup><i><b>m</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBruno_NettlRuth_M._StoneJames_Porter1998" class="citation book cs1">Bruno Nettl; Ruth M. Stone; James Porter; et&#160;al. (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ZOlNv8MAXIEC"><i>The Garland Encyclopedia of World Music: South Asia&#160;: the Indian subcontinent</i></a>. Routledge. p.&#160;520. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8240-4946-1" title="Special:BookSources/978-0-8240-4946-1"><bdi>978-0-8240-4946-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Garland+Encyclopedia+of+World+Music%3A+South+Asia+%3A+the+Indian+subcontinent&amp;rft.pages=520&amp;rft.pub=Routledge&amp;rft.date=1998&amp;rft.isbn=978-0-8240-4946-1&amp;rft.au=Bruno+Nettl&amp;rft.au=Ruth+M.+Stone&amp;rft.au=James+Porter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZOlNv8MAXIEC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-aroyo267-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-aroyo267_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-aroyo267_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-aroyo267_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-aroyo267_17-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlessandra_Royo2012" class="citation book cs1">Alessandra Royo (2012). Pallabi Chakravorty, Nilanjana Gupta (ed.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=_QDgCgAAQBAJ&amp;pg=PA267"><i>Dance Matters: Performing India on Local and Global Stages</i></a>. Routledge. p.&#160;267. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-51613-9" title="Special:BookSources/978-1-136-51613-9"><bdi>978-1-136-51613-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance+Matters%3A+Performing+India+on+Local+and+Global+Stages&amp;rft.pages=267&amp;rft.pub=Routledge&amp;rft.date=2012&amp;rft.isbn=978-1-136-51613-9&amp;rft.au=Alessandra+Royo&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D_QDgCgAAQBAJ%26pg%3DPA267&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAxel_MichaelsChristoph_Wulf2012" class="citation book cs1">Axel Michaels; Christoph Wulf (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ui2pAgAAQBAJ&amp;pg=PT192"><i>Images of the Body in India: South Asian and European Perspectives on Rituals and Performativity</i></a>. Routledge. p.&#160;192. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-70392-8" title="Special:BookSources/978-1-136-70392-8"><bdi>978-1-136-70392-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Images+of+the+Body+in+India%3A+South+Asian+and+European+Perspectives+on+Rituals+and+Performativity&amp;rft.pages=192&amp;rft.pub=Routledge&amp;rft.date=2012&amp;rft.isbn=978-1-136-70392-8&amp;rft.au=Axel+Michaels&amp;rft.au=Christoph+Wulf&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dui2pAgAAQBAJ%26pg%3DPT192&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFIan_Watson2003" class="citation book cs1">Ian Watson (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ChGGAgAAQBAJ"><i>Towards a Third Theatre: Eugenio Barba and the Odin Teatret</i></a>. Routledge. pp.&#160;xii–xiii. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-134-79755-4" title="Special:BookSources/978-1-134-79755-4"><bdi>978-1-134-79755-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Towards+a+Third+Theatre%3A+Eugenio+Barba+and+the+Odin+Teatret&amp;rft.pages=xii-xiii&amp;rft.pub=Routledge&amp;rft.date=2003&amp;rft.isbn=978-1-134-79755-4&amp;rft.au=Ian+Watson&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DChGGAgAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-KothariPasricha1990p32-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-KothariPasricha1990p32_20-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;32–33, 48–49, 68. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=32-33%2C+48-49%2C+68&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Kuiper2010p278-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-Kuiper2010p278_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Kuiper2010p278_21-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Kuiper2010p278_21-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKathleen_Kuiper2010" class="citation book cs1">Kathleen Kuiper (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=c8PJFLeURhsC&amp;pg=PA278"><i>The Culture of India</i></a>. The Rosen Publishing Group. p.&#160;278. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-61530-149-2" title="Special:BookSources/978-1-61530-149-2"><bdi>978-1-61530-149-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Culture+of+India&amp;rft.pages=278&amp;rft.pub=The+Rosen+Publishing+Group&amp;rft.date=2010&amp;rft.isbn=978-1-61530-149-2&amp;rft.au=Kathleen+Kuiper&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dc8PJFLeURhsC%26pg%3DPA278&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTENatalia_Lidova2014-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTENatalia_Lidova2014_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTENatalia_Lidova2014_22-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTENatalia_Lidova2014_22-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFNatalia_Lidova2014">Natalia Lidova 2014</a>.</span> </li> <li id="cite_note-FOOTNOTETarla_Mehta1995xxiv,_19–20-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETarla_Mehta1995xxiv,_19–20_23-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTarla_Mehta1995">Tarla Mehta 1995</a>, pp.&#160;xxiv, 19–20.</span> </li> <li id="cite_note-FOOTNOTEWallace_Dace1963249-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWallace_Dace1963249_24-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWallace_Dace1963">Wallace Dace 1963</a>, p.&#160;249.</span> </li> <li id="cite_note-FOOTNOTEEmmie_Te_Nijenhuis19741–25-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEmmie_Te_Nijenhuis19741–25_25-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEmmie_Te_Nijenhuis1974">Emmie Te Nijenhuis 1974</a>, pp.&#160;1–25.</span> </li> <li id="cite_note-FOOTNOTEKapila_Vatsyayan2001-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapila_Vatsyayan2001_26-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapila_Vatsyayan2001">Kapila Vatsyayan 2001</a>.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFGuy_L._Beck2012" class="citation book cs1">Guy L. Beck (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=UzUMCAAAQBAJ"><i>Sonic Liturgy: Ritual and Music in Hindu Tradition</i></a>. University of South Carolina Press. pp.&#160;138–139. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-61117-108-2" title="Special:BookSources/978-1-61117-108-2"><bdi>978-1-61117-108-2</bdi></a>. <q><b>Quote:</b> "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".</q></cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Sonic+Liturgy%3A+Ritual+and+Music+in+Hindu+Tradition&amp;rft.pages=138-139&amp;rft.pub=University+of+South+Carolina+Press&amp;rft.date=2012&amp;rft.isbn=978-1-61117-108-2&amp;rft.au=Guy+L.+Beck&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DUzUMCAAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-mog17-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-mog17_28-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFCoormaraswamy_and_Duggirala1917" class="citation web cs1">Coormaraswamy and Duggirala (1917). <a rel="nofollow" class="external text" href="https://archive.org/stream/cu31924012568535#page/n5/mode/2up">"The Mirror of Gesture"</a>. Harvard University Press. p.&#160;4.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=unknown&amp;rft.btitle=The+Mirror+of+Gesture&amp;rft.pages=4&amp;rft.pub=Harvard+University+Press&amp;rft.date=1917&amp;rft.au=Coormaraswamy+and+Duggirala&amp;rft_id=https%3A%2F%2Farchive.org%2Fstream%2Fcu31924012568535%23page%2Fn5%2Fmode%2F2up&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span>; Also see chapter 36</span> </li> <li id="cite_note-kothari6-29"><span class="mw-cite-backlink">^ <a href="#cite_ref-kothari6_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-kothari6_29-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;5–6. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=5-6&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;13–16, 31–32. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=13-16%2C+31-32&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Benudhar Patra (2008), <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/41692117">Merchants, Guilds and Trade in Ancient India: An Odishan Perspective</a>, Annals of the Bhandarkar Oriental Research Institute, Volume 89, pages 133-168</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf">Hathigumpha inscription</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160303232906/http://www.sdstate.edu/projectsouthasia/upload/HathigumphaInscription.pdf">Archived</a> 3 March 2016 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> South Dakota State University, Epigraphia Indica, Vol. XX (1929-30)</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">J. F. Fleet (1910), <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/25189732">The Hathigumpha Inscription</a>, The Journal of the Royal Asiatic Society of Great Britain and Ireland, (Jul., 1910), Cambridge University Press, pages 824-828</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFP._YuleM._Bemmann1988" class="citation journal cs1">P. Yule; M. Bemmann (1988). <a rel="nofollow" class="external text" href="http://archiv.ub.uni-heidelberg.de/savifadok/volltexte/2008/177/">"Klangsteine aus Orissa-Die frühesten Musikinstrumente Indiens?"</a>. <i>Archaeologia Musicalis</i>. <b>2</b> (1): 41–50.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Archaeologia+Musicalis&amp;rft.atitle=Klangsteine+aus+Orissa-Die+fr%C3%BChesten+Musikinstrumente+Indiens%3F&amp;rft.volume=2&amp;rft.issue=1&amp;rft.pages=41-50&amp;rft.date=1988&amp;rft.au=P.+Yule&amp;rft.au=M.+Bemmann&amp;rft_id=http%3A%2F%2Farchiv.ub.uni-heidelberg.de%2Fsavifadok%2Fvolltexte%2F2008%2F177%2F&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBruno_NettlRuth_M._StoneJames_Porter1998" class="citation book cs1">Bruno Nettl; Ruth M. Stone; James Porter; et&#160;al. (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ZOlNv8MAXIEC&amp;pg=PA319"><i>The Garland Encyclopedia of World Music: South Asia&#160;: the Indian subcontinent</i></a>. Taylor &amp; Francis. p.&#160;319. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8240-4946-1" title="Special:BookSources/978-0-8240-4946-1"><bdi>978-0-8240-4946-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Garland+Encyclopedia+of+World+Music%3A+South+Asia+%3A+the+Indian+subcontinent&amp;rft.pages=319&amp;rft.pub=Taylor+%26+Francis&amp;rft.date=1998&amp;rft.isbn=978-0-8240-4946-1&amp;rft.au=Bruno+Nettl&amp;rft.au=Ruth+M.+Stone&amp;rft.au=James+Porter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZOlNv8MAXIEC%26pg%3DPA319&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;13–15. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=13-15&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">DB Mishra (2006), <a rel="nofollow" class="external text" href="http://www.orissa.gov.in/e-magazine/Orissareview/may2006/engpdf/22-29.pdf">Orissan Inscriptions</a> Odisha Review</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlexandra_Carter2013" class="citation book cs1">Alexandra Carter (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jYaMAQAAQBAJ"><i>Rethinking Dance History: A Reader</i></a>. Routledge. pp.&#160;147–148. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-48500-8" title="Special:BookSources/978-1-136-48500-8"><bdi>978-1-136-48500-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Rethinking+Dance+History%3A+A+Reader&amp;rft.pages=147-148&amp;rft.pub=Routledge&amp;rft.date=2013&amp;rft.isbn=978-1-136-48500-8&amp;rft.au=Alexandra+Carter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjYaMAQAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan1982" class="citation book cs1">Kapila Vatsyayan (1982). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=58fUibaZdGYC"><i>Dance In Indian Painting</i></a>. Abhinav Publications. pp.&#160;73–78. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0391022362" title="Special:BookSources/978-0391022362"><bdi>978-0391022362</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance+In+Indian+Painting&amp;rft.pages=73-78&amp;rft.pub=Abhinav+Publications&amp;rft.date=1982&amp;rft.isbn=978-0391022362&amp;rft.au=Kapila+Vatsyayan&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D58fUibaZdGYC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;66–67. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=66-67&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEReginald_Massey2004210-212-41"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004210-212_41-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFReginald_Massey2004">Reginald Massey 2004</a>, pp.&#160;210-212.</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlice_BonerSadāśiva_Rath_Śarmā1966" class="citation book cs1">Alice Boner; Sadāśiva Rath Śarmā (1966). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=itQUAAAAIAAJ"><i>Silpa Prakasa Medieval Odishan Sanskrit Text on Temple Architecture</i></a>. Brill Academic. pp.&#160;74–80, 52, 154.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Silpa+Prakasa+Medieval+Odishan+Sanskrit+Text+on+Temple+Architecture&amp;rft.pages=74-80%2C+52%2C+154&amp;rft.pub=Brill+Academic&amp;rft.date=1966&amp;rft.au=Alice+Boner&amp;rft.au=Sad%C4%81%C5%9Biva+Rath+%C5%9Aarm%C4%81&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DitQUAAAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Verma2011p43-43"><span class="mw-cite-backlink">^ <a href="#cite_ref-Verma2011p43_43-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Verma2011p43_43-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Verma2011p43_43-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFArchana_Verma2011" class="citation book cs1">Archana Verma (2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=iAArBwAAQBAJ&amp;pg=PA43"><i>Performance and Culture: Narrative, Image and Enactment in India</i></a>. Cambridge Scholars Publishing. pp.&#160;43–57. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-4438-2832-1" title="Special:BookSources/978-1-4438-2832-1"><bdi>978-1-4438-2832-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Performance+and+Culture%3A+Narrative%2C+Image+and+Enactment+in+India&amp;rft.pages=43-57&amp;rft.pub=Cambridge+Scholars+Publishing&amp;rft.date=2011&amp;rft.isbn=978-1-4438-2832-1&amp;rft.au=Archana+Verma&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DiAArBwAAQBAJ%26pg%3DPA43&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDhirendranath_Patnaik1990" class="citation book cs1">Dhirendranath Patnaik (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TBtHAQAAIAAJ"><i>Odissi dance</i></a>. Odisha Sangeet Natak Adademi. pp.&#160;68–69.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi+dance&amp;rft.pages=68-69&amp;rft.pub=Odisha+Sangeet+Natak+Adademi&amp;rft.date=1990&amp;rft.au=Dhirendranath+Patnaik&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTBtHAQAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFStephanie_Burridge2006" class="citation book cs1">Stephanie Burridge (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Mm8NAQAAMAAJ"><i>Shifting sands: dance in Asia and the Pacific</i></a>. Australian Dance Council. p.&#160;32. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-875255-15-3" title="Special:BookSources/978-1-875255-15-3"><bdi>978-1-875255-15-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Shifting+sands%3A+dance+in+Asia+and+the+Pacific&amp;rft.pages=32&amp;rft.pub=Australian+Dance+Council&amp;rft.date=2006&amp;rft.isbn=978-1-875255-15-3&amp;rft.au=Stephanie+Burridge&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DMm8NAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-carter148-46"><span class="mw-cite-backlink">^ <a href="#cite_ref-carter148_46-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-carter148_46-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-carter148_46-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-carter148_46-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-carter148_46-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-carter148_46-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-carter148_46-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlexandra_Carter2013" class="citation book cs1">Alexandra Carter (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jYaMAQAAQBAJ"><i>Rethinking Dance History: A Reader</i></a>. Routledge. pp.&#160;148–149. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-48500-8" title="Special:BookSources/978-1-136-48500-8"><bdi>978-1-136-48500-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Rethinking+Dance+History%3A+A+Reader&amp;rft.pages=148-149&amp;rft.pub=Routledge&amp;rft.date=2013&amp;rft.isbn=978-1-136-48500-8&amp;rft.au=Alexandra+Carter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjYaMAQAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTERagini_Devi1990142-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERagini_Devi1990142_47-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRagini_Devi1990">Ragini Devi 1990</a>, p.&#160;142.</span> </li> <li id="cite_note-marysnodgrass166-48"><span class="mw-cite-backlink">^ <a href="#cite_ref-marysnodgrass166_48-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-marysnodgrass166_48-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-marysnodgrass166_48-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFMary_Ellen_Snodgrass2016" class="citation book cs1">Mary Ellen Snodgrass (2016). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DMGpDAAAQBAJ"><i>The Encyclopedia of World Folk Dance</i></a>. Rowman &amp; Littlefield. pp.&#160;165–168. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-4422-5749-8" title="Special:BookSources/978-1-4422-5749-8"><bdi>978-1-4422-5749-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Encyclopedia+of+World+Folk+Dance&amp;rft.pages=165-168&amp;rft.pub=Rowman+%26+Littlefield&amp;rft.date=2016&amp;rft.isbn=978-1-4422-5749-8&amp;rft.au=Mary+Ellen+Snodgrass&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DDMGpDAAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Walker2016p94-49"><span class="mw-cite-backlink">^ <a href="#cite_ref-Walker2016p94_49-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Walker2016p94_49-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFMargaret_E._Walker2016" class="citation book cs1">Margaret E. Walker (2016). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=nC83DAAAQBAJ&amp;pg=PA94"><i>India's Kathak Dance in Historical Perspective</i></a>. Routledge. pp.&#160;94–98. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-317-11737-7" title="Special:BookSources/978-1-317-11737-7"><bdi>978-1-317-11737-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=India%27s+Kathak+Dance+in+Historical+Perspective&amp;rft.pages=94-98&amp;rft.pub=Routledge&amp;rft.date=2016&amp;rft.isbn=978-1-317-11737-7&amp;rft.au=Margaret+E.+Walker&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DnC83DAAAQBAJ%26pg%3DPA94&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Alexandra_Carter_2013_145–146-50"><span class="mw-cite-backlink">^ <a href="#cite_ref-Alexandra_Carter_2013_145–146_50-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Alexandra_Carter_2013_145–146_50-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlexandra_Carter2013" class="citation book cs1">Alexandra Carter (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jYaMAQAAQBAJ"><i>Rethinking Dance History: A Reader</i></a>. Routledge. pp.&#160;145–146. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-48500-8" title="Special:BookSources/978-1-136-48500-8"><bdi>978-1-136-48500-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Rethinking+Dance+History%3A+A+Reader&amp;rft.pages=145-146&amp;rft.pub=Routledge&amp;rft.date=2013&amp;rft.isbn=978-1-136-48500-8&amp;rft.au=Alexandra+Carter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjYaMAQAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-amritsri73-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-amritsri73_51-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAmrit_Srinivasan1983" class="citation journal cs1">Amrit Srinivasan (1983). "The Hindu Temple-dancer: Prostitute or Nun?". <i>The Cambridge Journal of Anthropology</i>. <b>8</b> (1): 73–99. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a>&#160;<a rel="nofollow" class="external text" href="//www.jstor.org/stable/23816342">23816342</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=The+Cambridge+Journal+of+Anthropology&amp;rft.atitle=The+Hindu+Temple-dancer%3A+Prostitute+or+Nun%3F&amp;rft.volume=8&amp;rft.issue=1&amp;rft.pages=73-99&amp;rft.date=1983&amp;rft_id=%2F%2Fwww.jstor.org%2Fstable%2F23816342%23id-name%3DJSTOR&amp;rft.au=Amrit+Srinivasan&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-leslieorr8-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-leslieorr8_52-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFLeslie_C._Orr2000" class="citation book cs1">Leslie C. Orr (2000). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=F___xKcP8lMC"><i>Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu</i></a>. Oxford University Press. pp.&#160;5, 8–17. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-19-535672-4" title="Special:BookSources/978-0-19-535672-4"><bdi>978-0-19-535672-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Donors%2C+Devotees%2C+and+Daughters+of+God%3A+Temple+Women+in+Medieval+Tamilnadu&amp;rft.pages=5%2C+8-17&amp;rft.pub=Oxford+University+Press&amp;rft.date=2000&amp;rft.isbn=978-0-19-535672-4&amp;rft.au=Leslie+C.+Orr&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DF&#95;__xKcP8lMC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-pallabinilan30-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-pallabinilan30_53-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFPallabi_ChakravortyNilanjana_Gupta2012" class="citation book cs1">Pallabi Chakravorty; Nilanjana Gupta (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KQly7wn0C5sC&amp;pg=PA30"><i>Dance Matters: Performing India on Local and Global Stages</i></a>. Routledge. p.&#160;30. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-51612-2" title="Special:BookSources/978-1-136-51612-2"><bdi>978-1-136-51612-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance+Matters%3A+Performing+India+on+Local+and+Global+Stages&amp;rft.pages=30&amp;rft.pub=Routledge&amp;rft.date=2012&amp;rft.isbn=978-1-136-51612-2&amp;rft.au=Pallabi+Chakravorty&amp;rft.au=Nilanjana+Gupta&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKQly7wn0C5sC%26pg%3DPA30&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-craine420-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-craine420_54-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDebra_CraineJudith_Mackrell2010" class="citation book cs1">Debra Craine; Judith Mackrell (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=42g8Hp-xA48C"><i>The Oxford Dictionary of Dance</i></a>. Oxford University Press. p.&#160;420. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0199563449" title="Special:BookSources/978-0199563449"><bdi>978-0199563449</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Oxford+Dictionary+of+Dance&amp;rft.pages=420&amp;rft.pub=Oxford+University+Press&amp;rft.date=2010&amp;rft.isbn=978-0199563449&amp;rft.au=Debra+Craine&amp;rft.au=Judith+Mackrell&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D42g8Hp-xA48C&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDavid_Dennen" class="citation journal cs1">David Dennen. <a rel="nofollow" class="external text" href="https://www.academia.edu/2577115">"The Naming of Odissi: Changing Conceptions of Music in Odisha"</a>. <i>Ravenshaw Journal of Literary and Cultural Studies (Vol. 3)</i>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Ravenshaw+Journal+of+Literary+and+Cultural+Studies+%28Vol.+3%29&amp;rft.atitle=The+Naming+of+Odissi%3A+Changing+Conceptions+of+Music+in+Odisha&amp;rft.au=David+Dennen&amp;rft_id=https%3A%2F%2Fwww.academia.edu%2F2577115&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEReginald_Massey2004209-56"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEReginald_Massey2004209_56-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004209_56-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFReginald_Massey2004">Reginald Massey 2004</a>, p.&#160;209.</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAlexandra_Carter2013" class="citation book cs1">Alexandra Carter (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jYaMAQAAQBAJ"><i>Rethinking Dance History: A Reader</i></a>. Routledge. p.&#160;149. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-48500-8" title="Special:BookSources/978-1-136-48500-8"><bdi>978-1-136-48500-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Rethinking+Dance+History%3A+A+Reader&amp;rft.pages=149&amp;rft.pub=Routledge&amp;rft.date=2013&amp;rft.isbn=978-1-136-48500-8&amp;rft.au=Alexandra+Carter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjYaMAQAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFArchana_Verma2011" class="citation book cs1">Archana Verma (2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=iAArBwAAQBAJ"><i>Performance and Culture: Narrative, Image and Enactment in India</i></a>. Cambridge Scholars Publishing. pp.&#160;43–47. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-4438-2832-1" title="Special:BookSources/978-1-4438-2832-1"><bdi>978-1-4438-2832-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Performance+and+Culture%3A+Narrative%2C+Image+and+Enactment+in+India&amp;rft.pages=43-47&amp;rft.pub=Cambridge+Scholars+Publishing&amp;rft.date=2011&amp;rft.isbn=978-1-4438-2832-1&amp;rft.au=Archana+Verma&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DiAArBwAAQBAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Hanna1988p102-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-Hanna1988p102_59-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFJudith_Lynne_Hanna1988" class="citation book cs1">Judith Lynne Hanna (1988). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=QGJ68sbWFVUC"><i>Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire</i></a>. University of Chicago Press. pp.&#160;102–103. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-226-31551-5" title="Special:BookSources/978-0-226-31551-5"><bdi>978-0-226-31551-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance%2C+Sex%2C+and+Gender%3A+Signs+of+Identity%2C+Dominance%2C+Defiance%2C+and+Desire&amp;rft.pages=102-103&amp;rft.pub=University+of+Chicago+Press&amp;rft.date=1988&amp;rft.isbn=978-0-226-31551-5&amp;rft.au=Judith+Lynne+Hanna&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DQGJ68sbWFVUC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFJudith_Lynne_Hanna1988" class="citation book cs1">Judith Lynne Hanna (1988). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=QGJ68sbWFVUC"><i>Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire</i></a>. University of Chicago Press. pp.&#160;98–106. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-226-31551-5" title="Special:BookSources/978-0-226-31551-5"><bdi>978-0-226-31551-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance%2C+Sex%2C+and+Gender%3A+Signs+of+Identity%2C+Dominance%2C+Defiance%2C+and+Desire&amp;rft.pages=98-106&amp;rft.pub=University+of+Chicago+Press&amp;rft.date=1988&amp;rft.isbn=978-0-226-31551-5&amp;rft.au=Judith+Lynne+Hanna&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DQGJ68sbWFVUC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-NettlStone1998p519-61"><span class="mw-cite-backlink">^ <a href="#cite_ref-NettlStone1998p519_61-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NettlStone1998p519_61-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-NettlStone1998p519_61-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-NettlStone1998p519_61-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBruno_NettlRuth_M._StoneJames_Porter1998" class="citation book cs1">Bruno Nettl; Ruth M. Stone; James Porter; et&#160;al. (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ZOlNv8MAXIEC"><i>The Garland Encyclopedia of World Music: South Asia&#160;: the Indian subcontinent</i></a>. Routledge. pp.&#160;519–521. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8240-4946-1" title="Special:BookSources/978-0-8240-4946-1"><bdi>978-0-8240-4946-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Garland+Encyclopedia+of+World+Music%3A+South+Asia+%3A+the+Indian+subcontinent&amp;rft.pages=519-521&amp;rft.pub=Routledge&amp;rft.date=1998&amp;rft.isbn=978-0-8240-4946-1&amp;rft.au=Bruno+Nettl&amp;rft.au=Ruth+M.+Stone&amp;rft.au=James+Porter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZOlNv8MAXIEC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEReginald_Massey2004207-214-62"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEReginald_Massey2004207-214_62-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004207-214_62-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004207-214_62-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004207-214_62-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReginald_Massey2004207-214_62-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFReginald_Massey2004">Reginald Massey 2004</a>, pp.&#160;207-214.</span> </li> <li id="cite_note-koskoff955-63"><span class="mw-cite-backlink">^ <a href="#cite_ref-koskoff955_63-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-koskoff955_63-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFEllen_Koskoff2008" class="citation book cs1">Ellen Koskoff (2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=73MO0eiQD_EC&amp;pg=PA955"><i>The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia</i></a>. Routledge. p.&#160;955. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-415-99404-0" title="Special:BookSources/978-0-415-99404-0"><bdi>978-0-415-99404-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Concise+Garland+Encyclopedia+of+World+Music%3A+The+Middle+East%2C+South+Asia%2C+East+Asia%2C+Southeast+Asia&amp;rft.pages=955&amp;rft.pub=Routledge&amp;rft.date=2008&amp;rft.isbn=978-0-415-99404-0&amp;rft.au=Ellen+Koskoff&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D73MO0eiQD_EC%26pg%3DPA955&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Descutner2010p45-64"><span class="mw-cite-backlink">^ <a href="#cite_ref-Descutner2010p45_64-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Descutner2010p45_64-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFJanet_Descutner2010" class="citation book cs1">Janet Descutner (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=8tCYjXOtkdgC"><i>Asian Dance</i></a>. Infobase. pp.&#160;45–46. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-4381-3078-1" title="Special:BookSources/978-1-4381-3078-1"><bdi>978-1-4381-3078-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Asian+Dance&amp;rft.pages=45-46&amp;rft.pub=Infobase&amp;rft.date=2010&amp;rft.isbn=978-1-4381-3078-1&amp;rft.au=Janet+Descutner&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D8tCYjXOtkdgC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFCatherine_B._Asher1995" class="citation book cs1">Catherine B. Asher (1995). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=F_BtAAAAMAAJ"><i>India 2001: Reference Encyclopedia</i></a>. South Asia Book. p.&#160;6. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-945921-42-4" title="Special:BookSources/978-0-945921-42-4"><bdi>978-0-945921-42-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=India+2001%3A+Reference+Encyclopedia&amp;rft.pages=6&amp;rft.pub=South+Asia+Book&amp;rft.date=1995&amp;rft.isbn=978-0-945921-42-4&amp;rft.au=Catherine+B.+Asher&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DF_BtAAAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEKapila_Vatsyayan197438-39-66"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197438-39_66-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKapila_Vatsyayan1974">Kapila Vatsyayan 1974</a>, pp.&#160;38-39.</span> </li> <li id="cite_note-FOOTNOTERagini_Devi1990144-145-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERagini_Devi1990144-145_67-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRagini_Devi1990">Ragini Devi 1990</a>, pp.&#160;144-145.</span> </li> <li id="cite_note-FOOTNOTEKapila_Vatsyayan197438,_65-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197438,_65_68-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapila_Vatsyayan1974">Kapila Vatsyayan 1974</a>, pp.&#160;38, 65.</span> </li> <li id="cite_note-FOOTNOTEKapila_Vatsyayan197436-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197436_69-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapila_Vatsyayan1974">Kapila Vatsyayan 1974</a>, p.&#160;36.</span> </li> <li id="cite_note-FOOTNOTEKapila_Vatsyayan197435-37-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKapila_Vatsyayan197435-37_70-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKapila_Vatsyayan1974">Kapila Vatsyayan 1974</a>, pp.&#160;35-37.</span> </li> <li id="cite_note-KothariPasricha1990p64-71"><span class="mw-cite-backlink">^ <a href="#cite_ref-KothariPasricha1990p64_71-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p64_71-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p64_71-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p64_71-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;64–67. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=64-67&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDhirendranath_Patnaik1990" class="citation book cs1">Dhirendranath Patnaik (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TBtHAQAAIAAJ"><i>Odissi dance</i></a>. Odisha Sangeet Natak Adademi. pp.&#160;112–113.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi+dance&amp;rft.pages=112-113&amp;rft.pub=Odisha+Sangeet+Natak+Adademi&amp;rft.date=1990&amp;rft.au=Dhirendranath+Patnaik&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTBtHAQAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-nettl521-73"><span class="mw-cite-backlink">^ <a href="#cite_ref-nettl521_73-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-nettl521_73-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-nettl521_73-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-nettl521_73-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBruno_NettlRuth_M._StoneJames_Porter1998" class="citation book cs1">Bruno Nettl; Ruth M. Stone; James Porter; et&#160;al. (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ZOlNv8MAXIEC&amp;pg=PA319"><i>The Garland Encyclopedia of World Music: South Asia&#160;: the Indian subcontinent</i></a>. Taylor &amp; Francis. p.&#160;521. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-0-8240-4946-1" title="Special:BookSources/978-0-8240-4946-1"><bdi>978-0-8240-4946-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Garland+Encyclopedia+of+World+Music%3A+South+Asia+%3A+the+Indian+subcontinent&amp;rft.pages=521&amp;rft.pub=Taylor+%26+Francis&amp;rft.date=1998&amp;rft.isbn=978-0-8240-4946-1&amp;rft.au=Bruno+Nettl&amp;rft.au=Ruth+M.+Stone&amp;rft.au=James+Porter&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DZOlNv8MAXIEC%26pg%3DPA319&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-gaston81-74"><span class="mw-cite-backlink">^ <a href="#cite_ref-gaston81_74-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-gaston81_74-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAnne-Marie_Gaston2012" class="citation book cs1">Anne-Marie Gaston (2012). Hillary P. Rodrigues (ed.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=u9eoAgAAQBAJ&amp;pg=PA81"><i>Studying Hinduism in Practice</i></a>. Routledge. p.&#160;81. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-1-136-68097-7" title="Special:BookSources/978-1-136-68097-7"><bdi>978-1-136-68097-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Studying+Hinduism+in+Practice&amp;rft.pages=81&amp;rft.pub=Routledge&amp;rft.date=2012&amp;rft.isbn=978-1-136-68097-7&amp;rft.au=Anne-Marie+Gaston&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Du9eoAgAAQBAJ%26pg%3DPA81&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDhirendranath_Patnaik1990" class="citation book cs1">Dhirendranath Patnaik (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TBtHAQAAIAAJ"><i>Odissi dance</i></a>. Odisha Sangeet Natak Adademi. pp.&#160;9–11.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi+dance&amp;rft.pages=9-11&amp;rft.pub=Odisha+Sangeet+Natak+Adademi&amp;rft.date=1990&amp;rft.au=Dhirendranath+Patnaik&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTBtHAQAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Patnaik1990p115-76"><span class="mw-cite-backlink">^ <a href="#cite_ref-Patnaik1990p115_76-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Patnaik1990p115_76-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Patnaik1990p115_76-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDhirendranath_Patnaik1990" class="citation book cs1">Dhirendranath Patnaik (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TBtHAQAAIAAJ"><i>Odissi dance</i></a>. Odisha Sangeet Natak Adademi. pp.&#160;113–115.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi+dance&amp;rft.pages=113-115&amp;rft.pub=Odisha+Sangeet+Natak+Adademi&amp;rft.date=1990&amp;rft.au=Dhirendranath+Patnaik&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTBtHAQAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-orissaculture.gov.in-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-orissaculture.gov.in_77-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://orissaculture.gov.in/dance.asp">"Culture Department"</a>. Orissaculture.gov.in<span class="reference-accessdate">. Retrieved <span class="nowrap">19 May</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=unknown&amp;rft.btitle=Culture+Department&amp;rft.pub=Orissaculture.gov.in&amp;rft_id=http%3A%2F%2Forissaculture.gov.in%2Fdance.asp&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTERagini_Devi1990147-149-78"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTERagini_Devi1990147-149_78-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTERagini_Devi1990147-149_78-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTERagini_Devi1990147-149_78-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRagini_Devi1990">Ragini Devi 1990</a>, pp.&#160;147-149.</span> </li> <li id="cite_note-KothariPasricha1990p49-79"><span class="mw-cite-backlink">^ <a href="#cite_ref-KothariPasricha1990p49_79-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p49_79-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p49_79-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-KothariPasricha1990p49_79-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFSunil_KothariAvinash_Pasricha1990" class="citation book cs1">Sunil Kothari; Avinash Pasricha (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=P_0MAQAAMAAJ"><i>Odissi, Indian classical dance art</i></a>. Marg Publications. pp.&#160;41–49. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-85026-13-8" title="Special:BookSources/978-81-85026-13-8"><bdi>978-81-85026-13-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi%2C+Indian+classical+dance+art&amp;rft.pages=41-49&amp;rft.pub=Marg+Publications&amp;rft.date=1990&amp;rft.isbn=978-81-85026-13-8&amp;rft.au=Sunil+Kothari&amp;rft.au=Avinash+Pasricha&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DP_0MAQAAMAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">Alessandra Lopez y Royo, "The reinvention of odissi classical dance as a temple ritual," published in <i>The Archaeology of Ritual</i> ed. Evangelos Kyriakidis, Cotsen Institute of Archaeology, UCLA 2007</span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDhirendranath_Patnaik1990" class="citation book cs1">Dhirendranath Patnaik (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=TBtHAQAAIAAJ"><i>Odissi dance</i></a>. Odisha Sangeet Natak Adademi. pp.&#160;84–85.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Odissi+dance&amp;rft.pages=84-85&amp;rft.pub=Odisha+Sangeet+Natak+Adademi&amp;rft.date=1990&amp;rft.au=Dhirendranath+Patnaik&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DTBtHAQAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.telegraphindia.com/1100809/jsp/orissa/story_12788878.jsp">"Steps to success"</a>. <i>The Telegraph</i>. Calcutta, India. 9 August 2010.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=The+Telegraph&amp;rft.atitle=Steps+to+success&amp;rft.date=2010-08-09&amp;rft_id=http%3A%2F%2Fwww.telegraphindia.com%2F1100809%2Fjsp%2Forissa%2Fstory_12788878.jsp&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text">Kaktikar, A. <i>Odissi Yaatra: The Journey of Guru Mayadhar Raut</i>. Delhi: B. R. Rhythms. 2010. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-88827-21-3" title="Special:BookSources/978-81-88827-21-3">978-81-88827-21-3</a>.</span> </li> <li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external free" href="https://www.thehindu.com/features/friday-review/dance/mystery-and-magic/article5003550.ece">https://www.thehindu.com/features/friday-review/dance/mystery-and-magic/article5003550.ece</a></span> </li> <li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external free" href="https://www.thehindu.com/features/friday-review/dance/taking-classical-dance-to-the-masses/article4977451.ece">https://www.thehindu.com/features/friday-review/dance/taking-classical-dance-to-the-masses/article4977451.ece</a></span> </li> <li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external free" href="https://www.thehindu.com/entertainment/music/almost-there/article27298134.ece">https://www.thehindu.com/entertainment/music/almost-there/article27298134.ece</a></span> </li> <li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.newindianexpress.com/cities/delhi/2019/may/18/indian-dance-weekend-celebrations-1978536.html">"Indian dance weekend celebrations"</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=unknown&amp;rft.btitle=Indian+dance+weekend+celebrations&amp;rft_id=http%3A%2F%2Fwww.newindianexpress.com%2Fcities%2Fdelhi%2F2019%2Fmay%2F18%2Findian-dance-weekend-celebrations-1978536.html&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-88"><span class="mw-cite-backlink"><b><a href="#cite_ref-88">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFVidyarthi2017" class="citation news cs1">Vidyarthi, Nita (30 June 2017). <a rel="nofollow" class="external text" href="https://www.thehindu.com/entertainment/dance/solos-on-stage/article19180685.ece">"Solos on stage"</a>. <i>The Hindu</i>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=The+Hindu&amp;rft.atitle=Solos+on+stage&amp;rft.date=2017-06-30&amp;rft.aulast=Vidyarthi&amp;rft.aufirst=Nita&amp;rft_id=https%3A%2F%2Fwww.thehindu.com%2Fentertainment%2Fdance%2Fsolos-on-stage%2Farticle19180685.ece&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-TOI11September2015-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-TOI11September2015_89-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFPradhan2015" class="citation news cs1">Pradhan, Ashok (11 September 2015). <a rel="nofollow" class="external text" href="http://timesofindia.indiatimes.com/home/education/news/IIT-Bhubaneswar-becomes-first-IIT-in-country-to-introduce-dance-as-BTech-subject/articleshow/48911403.cms">"IIT Bhubaneswar becomes first IIT in country to introduce dance as BTech subject"</a>. Times of India<span class="reference-accessdate">. Retrieved <span class="nowrap">13 September</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.atitle=IIT+Bhubaneswar+becomes+first+IIT+in+country+to+introduce+dance+as+BTech+subject&amp;rft.date=2015-09-11&amp;rft.aulast=Pradhan&amp;rft.aufirst=Ashok&amp;rft_id=http%3A%2F%2Ftimesofindia.indiatimes.com%2Fhome%2Feducation%2Fnews%2FIIT-Bhubaneswar-becomes-first-IIT-in-country-to-introduce-dance-as-BTech-subject%2Farticleshow%2F48911403.cms&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-Hin12September2015-90"><span class="mw-cite-backlink"><b><a href="#cite_ref-Hin12September2015_90-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBarik2015" class="citation news cs1">Barik, Satyasundar (12 September 2015). <a rel="nofollow" class="external text" href="http://www.thehindu.com/news/national/other-states/iitbhubaneswar-to-train-students-in-odissi-too/article7642531.ece">"IIT-Bhubaneswar to train students in Odissi too"</a>. 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Retrieved <span class="nowrap">27 March</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=unknown&amp;rft.jtitle=india.com&amp;rft.atitle=LIVE%3A+Watch+-+Art+of+Living%27s+World+Culture+Festival+2016+%E2%80%93+Day+2&amp;rft.date=2016-03-12&amp;rft_id=http%3A%2F%2Fzeenews.india.com%2Fentertainment%2Fand-more%2Flive-watch-art-of-living-s-world-culture-festival-2016-day-2_1864974.html&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAyaskant" class="citation web cs1">Ayaskant. <a rel="nofollow" class="external text" href="http://odishasuntimes.com/2015/12/16/sri-sri-to-visit-odisha-to-prepare-for-world-culture-festival/">"Sri Sri to visit Odisha to prepare for World Culture Festival - OdishaSunTimes.com"</a>. <i>odishasuntimes.com</i><span class="reference-accessdate">. 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Retrieved <span class="nowrap">27 March</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=unknown&amp;rft.jtitle=odishasuntimes.com&amp;rft.atitle=Odissi+Centre+to+open+at+Oxford+University+from+Jan+-+OdishaSunTimes.com&amp;rft.au=Ayaskant&amp;rft_id=http%3A%2F%2Fodishasuntimes.com%2F2015%2F12%2F26%2Fodissi-centre-to-open-at-oxford-university-from-jan%2F&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.dailypioneer.com/print.php?printFOR=storydetail&amp;story_url_key=odishi-centre-to-open-at-oxford-in-january&amp;section_url_key=state-editions">"The Pioneer"</a>. <i>www.dailypioneer.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">27 March</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=unknown&amp;rft.jtitle=www.dailypioneer.com&amp;rft.atitle=The+Pioneer&amp;rft_id=http%3A%2F%2Fwww.dailypioneer.com%2Fprint.php%3FprintFOR%3Dstorydetail%26story_url_key%3Dodishi-centre-to-open-at-oxford-in-january%26section_url_key%3Dstate-editions&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> <li id="cite_note-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-99">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://kalingatv.com/state-news/oxford-university-odissi-centre-jan/">"Kalinga TV on Facebook"</a>. <i>KalingaTV</i><span class="reference-accessdate">. Retrieved <span class="nowrap">27 March</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=unknown&amp;rft.jtitle=KalingaTV&amp;rft.atitle=Kalinga+TV+on+Facebook&amp;rft_id=http%3A%2F%2Fkalingatv.com%2Fstate-news%2Foxford-university-odissi-centre-jan%2F&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></span> </li> </ol></div> <h3><span class="mw-headline" id="Bibliography">Bibliography</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=19" title="Edit section: Bibliography">edit source</a><span class="mw-editsection-bracket">]</span></span></h3> <ul><li><i>Odissi&#160;: What, Why and How… Evolution, Revival and Technique</i>, by <a href="/wiki/Madhumita_Raut" title="Madhumita Raut">Madhumita Raut</a>. Published by B. R. Rhythms, Delhi, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/81-88827-10-X" title="Special:BookSources/81-88827-10-X">81-88827-10-X</a>.</li> <li><i>Odissi Yaatra: The Journey of Guru Mayadhar Raut</i>, by Aadya Kaktikar (ed. <a href="/wiki/Madhumita_Raut" title="Madhumita Raut">Madhumita Raut</a>). Published by B. R. Rhythms, Delhi, 2010. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-88827-21-3" title="Special:BookSources/978-81-88827-21-3">978-81-88827-21-3</a>.</li> <li><i>Odissi Dance</i>, by Dhirendranath Patnaik. Published by Odisha Sangeet Natak Akademi, 1971.</li> <li><i>Odissi – The Dance Divine</i>, by Ranjana Gauhar and Dushyant Parasher. Published by Niyogi Books, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/81-89738-17-8" title="Special:BookSources/81-89738-17-8">81-89738-17-8</a>.</li> <li><i>Odissi, Indian Classical Dance Art: Odisi Nritya</i>, by <a href="/wiki/Sunil_Kothari" title="Sunil Kothari">Sunil Kothari</a>, Avinash Pasricha. Marg Publications, 1990. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/81-85026-13-0" title="Special:BookSources/81-85026-13-0">81-85026-13-0</a>.</li> <li><i>Perspectives on Odissi Theatre</i>, by Ramesh Prasad Panigrahi, Odisha Sangeet Natak Akademi. Published by Odisha Sangeet Natak Akademi, 1998.</li> <li><i>Abhinaya-chandrika and Odissi dance</i>, by Maheshwar Mahapatra, Alekha Chandra Sarangi, Sushama Kulshreshthaa, Maya Das. Published by Eastern Book Linkers, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/81-7854-010-X" title="Special:BookSources/81-7854-010-X">81-7854-010-X</a>.</li> <li><i>Rethinking Odissi</i>, by Dinanath Pathy. Published by Harman Pub. House, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/81-86622-88-8" title="Special:BookSources/81-86622-88-8">81-86622-88-8</a>.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFNatalia_Lidova2014" class="citation journal cs1">Natalia Lidova (2014). "Natyashastra". Oxford University Press. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fobo%2F9780195399318-0071">10.1093/obo/9780195399318-0071</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.atitle=Natyashastra&amp;rft.date=2014&amp;rft_id=info%3Adoi%2F10.1093%2Fobo%2F9780195399318-0071&amp;rft.au=Natalia+Lidova&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span> <span class="cs1-hidden-error error citation-comment">Cite journal requires <code class="cs1-code">&#124;journal=</code> (<a href="/wiki/Help:CS1_errors#missing_periodical" title="Help:CS1 errors">help</a>)</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFNatalia_Lidova1994" class="citation book cs1">Natalia Lidova (1994). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=3TKarwqJJP0C"><i>Drama and Ritual of Early Hinduism</i></a>. Motilal Banarsidass. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-208-1234-5" title="Special:BookSources/978-81-208-1234-5"><bdi>978-81-208-1234-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Drama+and+Ritual+of+Early+Hinduism&amp;rft.pub=Motilal+Banarsidass&amp;rft.date=1994&amp;rft.isbn=978-81-208-1234-5&amp;rft.au=Natalia+Lidova&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D3TKarwqJJP0C&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFRagini_Devi1990" class="citation book cs1">Ragini Devi (1990). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KRz5ykKRVAEC"><i>Dance Dialects of India</i></a>. Motilal Banarsidass. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-208-0674-0" title="Special:BookSources/978-81-208-0674-0"><bdi>978-81-208-0674-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance+Dialects+of+India&amp;rft.pub=Motilal+Banarsidass&amp;rft.date=1990&amp;rft.isbn=978-81-208-0674-0&amp;rft.au=Ragini+Devi&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKRz5ykKRVAEC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFWilliams2004" class="citation journal cs1">Williams, Drid (2004). <a rel="nofollow" class="external text" href="http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf">"In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing"</a> <span class="cs1-format">(PDF)</span>. <i>Visual Anthropology</i>. Routledge. <b>17</b> (1): 69–98. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F08949460490274013">10.1080/08949460490274013</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Visual+Anthropology&amp;rft.atitle=In+the+Shadow+of+Hollywood+Orientalism%3A+Authentic+East+Indian+Dancing&amp;rft.volume=17&amp;rft.issue=1&amp;rft.pages=69-98&amp;rft.date=2004&amp;rft_id=info%3Adoi%2F10.1080%2F08949460490274013&amp;rft.aulast=Williams&amp;rft.aufirst=Drid&amp;rft_id=http%3A%2F%2Fjashm.press.illinois.edu%2F12.3%2F12-3IntheShadow_Williams78-99.pdf&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFTarla_Mehta1995" class="citation book cs1">Tarla Mehta (1995). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=l7naMj1UxIkC"><i>Sanskrit Play Production in Ancient India</i></a>. Motilal Banarsidass. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-208-1057-0" title="Special:BookSources/978-81-208-1057-0"><bdi>978-81-208-1057-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Sanskrit+Play+Production+in+Ancient+India&amp;rft.pub=Motilal+Banarsidass&amp;rft.date=1995&amp;rft.isbn=978-81-208-1057-0&amp;rft.au=Tarla+Mehta&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dl7naMj1UxIkC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFFergusson1880" class="citation book cs1">Fergusson, James (1880). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5YqEFKdU8FEC&amp;pg=PA405"><i>The Caves Temples of India</i></a>. W. H. Allen<span class="reference-accessdate">. Retrieved <span class="nowrap">2 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=The+Caves+Temples+of+India&amp;rft.pub=W.+H.+Allen&amp;rft.date=1880&amp;rft.aulast=Fergusson&amp;rft.aufirst=James&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D5YqEFKdU8FEC%26pg%3DPA405&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFMichell2014" class="citation book cs1">Michell, George l (15 October 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=-1TroAEACAAJ"><i>Temple Architecture and Art of the Early Chalukyas: Badami, Mahakuta, Aihole, Pattadakal</i></a>. Niyogi Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-93-83098-33-0" title="Special:BookSources/978-93-83098-33-0"><bdi>978-93-83098-33-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Temple+Architecture+and+Art+of+the+Early+Chalukyas%3A+Badami%2C+Mahakuta%2C+Aihole%2C+Pattadakal&amp;rft.pub=Niyogi+Books&amp;rft.date=2014-10-15&amp;rft.isbn=978-93-83098-33-0&amp;rft.aulast=Michell&amp;rft.aufirst=George+l&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D-1TroAEACAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFReginald_Massey2004" class="citation book cs1">Reginald Massey (2004). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=t6MJ8jbHqIwC"><i>India's Dances: Their History, Technique, and Repertoire</i></a>. Abhinav Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-7017-434-9" title="Special:BookSources/978-81-7017-434-9"><bdi>978-81-7017-434-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=India%27s+Dances%3A+Their+History%2C+Technique%2C+and+Repertoire&amp;rft.pub=Abhinav+Publications&amp;rft.date=2004&amp;rft.isbn=978-81-7017-434-9&amp;rft.au=Reginald+Massey&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dt6MJ8jbHqIwC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFEmmie_Te_Nijenhuis1974" class="citation book cs1"><a href="/wiki/Emmie_te_Nijenhuis" title="Emmie te Nijenhuis">Emmie Te Nijenhuis</a> (1974). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=NrgfAAAAIAAJ"><i>Indian Music: History and Structure</i></a>. BRILL Academic. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/90-04-03978-3" title="Special:BookSources/90-04-03978-3"><bdi>90-04-03978-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Indian+Music%3A+History+and+Structure&amp;rft.pub=BRILL+Academic&amp;rft.date=1974&amp;rft.isbn=90-04-03978-3&amp;rft.au=Emmie+Te+Nijenhuis&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DNrgfAAAAIAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan2001" class="citation book cs1">Kapila Vatsyayan (2001). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=zKW1PAAACAAJ"><i>Bharata, the Nāṭyaśāstra</i></a>. Sahitya Akademi. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-260-1220-6" title="Special:BookSources/978-81-260-1220-6"><bdi>978-81-260-1220-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Bharata%2C+the+N%C4%81%E1%B9%ADya%C5%9B%C4%81stra&amp;rft.pub=Sahitya+Akademi&amp;rft.date=2001&amp;rft.isbn=978-81-260-1220-6&amp;rft.au=Kapila+Vatsyayan&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DzKW1PAAACAAJ&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan1977" class="citation book cs1">Kapila Vatsyayan (1977). <i>Classical Indian dance in literature and the arts</i>. Sangeet Natak Akademi. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a>&#160;<a rel="nofollow" class="external text" href="//www.worldcat.org/oclc/233639306">233639306</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Classical+Indian+dance+in+literature+and+the+arts&amp;rft.pub=Sangeet+Natak+Akademi&amp;rft.date=1977&amp;rft_id=info%3Aoclcnum%2F233639306&amp;rft.au=Kapila+Vatsyayan&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span>, <a rel="nofollow" class="external text" href="http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf">Table of Contents</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan1974" class="citation cs2">Kapila Vatsyayan (1974), <i>Indian classical dance</i>, Sangeet Natak Akademi, <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a>&#160;<a rel="nofollow" class="external text" href="//www.worldcat.org/oclc/2238067">2238067</a></cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Indian+classical+dance&amp;rft.pub=Sangeet+Natak+Akademi&amp;rft.date=1974&amp;rft_id=info%3Aoclcnum%2F2238067&amp;rft.au=Kapila+Vatsyayan&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan2008" class="citation book cs1">Kapila Vatsyayan (2008). <i>Aesthetic theories and forms in Indian tradition</i>. Munshiram Manoharlal. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-8187586357" title="Special:BookSources/978-8187586357"><bdi>978-8187586357</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a>&#160;<a rel="nofollow" class="external text" href="//www.worldcat.org/oclc/286469807">286469807</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Aesthetic+theories+and+forms+in+Indian+tradition&amp;rft.pub=Munshiram+Manoharlal&amp;rft.date=2008&amp;rft_id=info%3Aoclcnum%2F286469807&amp;rft.isbn=978-8187586357&amp;rft.au=Kapila+Vatsyayan&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFKapila_Vatsyayan" class="citation book cs1">Kapila Vatsyayan. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=58fUibaZdGYC"><i>Dance In Indian Painting</i></a>. Abhinav Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a>&#160;<a href="/wiki/Special:BookSources/978-81-7017-153-9" title="Special:BookSources/978-81-7017-153-9"><bdi>978-81-7017-153-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&amp;rft.genre=book&amp;rft.btitle=Dance+In+Indian+Painting&amp;rft.pub=Abhinav+Publications&amp;rft.isbn=978-81-7017-153-9&amp;rft.au=Kapila+Vatsyayan&amp;rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D58fUibaZdGYC&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFWallace_Dace1963" class="citation journal cs1">Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". <i>Educational Theatre Journal</i>. <b>15</b> (3): 249–254. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F3204783">10.2307/3204783</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a>&#160;<a rel="nofollow" class="external text" href="//www.jstor.org/stable/3204783">3204783</a>.</cite><span title="ctx_ver=Z39.88-2004&amp;rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&amp;rft.genre=article&amp;rft.jtitle=Educational+Theatre+Journal&amp;rft.atitle=The+Concept+of+%22Rasa%22+in+Sanskrit+Dramatic+Theory&amp;rft.volume=15&amp;rft.issue=3&amp;rft.pages=249-254&amp;rft.date=1963&amp;rft_id=info%3Adoi%2F10.2307%2F3204783&amp;rft_id=%2F%2Fwww.jstor.org%2Fstable%2F3204783%23id-name%3DJSTOR&amp;rft.au=Wallace+Dace&amp;rfr_id=info%3Asid%2Fen.wikipedia.org%3AOdissi" class="Z3988"></span></li></ul> <h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Odissi&amp;action=edit&amp;section=20" title="Edit section: External links">edit source</a><span class="mw-editsection-bracket">]</span></span></h2> <table role="presentation" class="mbox-small plainlinks sistersitebox" style="background-color:#f9f9f9;border:1px solid #aaa;color:#000"> <tbody><tr> <td class="mbox-image"><img alt="" src="/media/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="noviewer" srcset="/media/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, /media/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></td> <td class="mbox-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; 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href="https://www.youtube.com/watch?v=X69dOnl_zKw">Odissi solo performance: Nitisha Nanda</a>, Arabhi Pallav, New Delhi 2013</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=qRl3Jdxn1ZQ">Odissi group dance: Megh Pallavi</a>, Vancouver 2014</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=52bscmW8x80">Maryam Shakiba - Odissi Dance - Manglacharan Ganesh Vandana</a> Pushkar 2014</li> <li><a rel="nofollow" class="external text" href="http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/">Odissi links</a> at the Open Directory</li> <li><a rel="nofollow" class="external text" href="http://www.narthaki.com/odissi/odidivi.htm">Odissi schools</a>, Classical Indian Dance Portal</li> <li><a rel="nofollow" class="external text" href="https://pad.ma/grid/title/project==Odissi_Archive">The annotated Odissi Dance Archive on Pad.ma</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20090410060341/http://orissagov.nic.in/e-magazine/Orissareview/2008/May-2008/engpdf/The_Story17-19.pdf">History of Odissi and Geeta Govinda</a> JN Dhar, Orissa Review</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20060505124201/http://www.bharatbhavankerala.org/oddissi.htm">Bharat Bhavan</a>, a <a href="/wiki/Kerala" title="Kerala">Kerala</a>-based Department of Culture information website.</li></ul> <div role="navigation" class="navbox" aria-labelledby="Dance_in_India" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Dance_in_India" title="Template:Dance in India"><abbr 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href="/wiki/Margamkali" title="Margamkali">Margamkali</a></li> <li><a href="/wiki/Koothu" title="Koothu">Koothu</a></li> <li><a href="/wiki/Parai_Attam" title="Parai Attam">Parai Attam</a></li> <li><a href="/wiki/Perini_Shivatandavam" class="mw-redirect" title="Perini Shivatandavam">Perini Shivatandavam</a></li> <li><a href="/wiki/Theyyam" title="Theyyam">Theyyam</a></li> <li><a href="/wiki/Veeranatyam" title="Veeranatyam">Veeranatyam</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Indian_classical_dance" title="Indian classical dance">Classical</a></th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Recognised</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bharatanatyam" title="Bharatanatyam">Bharatanatyam</a></li> <li><a href="/wiki/Kathak" title="Kathak">Kathak</a></li> <li><a href="/wiki/Kathakali" title="Kathakali">Kathakali</a></li> <li><a href="/wiki/Kuchipudi" title="Kuchipudi">Kuchipudi</a></li> <li><a href="/wiki/Manipuri_dance" title="Manipuri dance">Manipuri</a></li> <li><a href="/wiki/Mohiniyattam" title="Mohiniyattam">Mohiniyattam</a></li> <li><a class="mw-selflink selflink">Odissi</a></li> <li><a href="/wiki/Sattriya" title="Sattriya">Sattriya</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Others</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Andhra_Natyam" title="Andhra Natyam">Andhra Natyam</a></li> <li><a href="/wiki/Deknni" title="Deknni">Deknni</a></li> <li><a href="/wiki/Gotipua" title="Gotipua">Gotipua</a></li> <li><a href="/wiki/Mahari_dance" title="Mahari dance">Mahari</a></li> <li><a href="/wiki/Vilasini_Natyam" title="Vilasini Natyam">Vilasini Natyam</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Divine forms</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Nataraja" title="Nataraja">Nataraja</a></li> <li><a href="/wiki/Tandava" title="Tandava">Tandava</a></li> <li><a href="/wiki/Rasa_lila" class="mw-redirect" title="Rasa lila">Rasa lila</a></li> <li><a href="/wiki/Lasya" title="Lasya">Lasya</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_Indian_folk_dances" title="List of Indian folk dances">Folk</a> (<a href="/wiki/List_of_Indian_folk_dances" title="List of Indian folk dances">list</a>)</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Alkap" title="Alkap">Alkap</a></li> <li><a href="/wiki/Baagh_Naach" class="mw-redirect" title="Baagh Naach">Baagh Naach</a></li> <li><a href="/wiki/Bagurumba" title="Bagurumba">Bagurumba</a></li> <li><a href="/wiki/Bardo_Chham" title="Bardo Chham">Bardo Chham</a></li> <li><a href="/wiki/Bedara_Vesha" title="Bedara Vesha">Bedara Vesha</a></li> <li><a href="/wiki/Bhangra_(dance)" title="Bhangra (dance)">Bhangra</a></li> <li><a href="/wiki/Bihu_dance" title="Bihu dance">Bihu</a></li> <li><a href="/wiki/Chakyar_Koothu" class="mw-redirect" title="Chakyar Koothu">Chakyar Koothu</a></li> <li><a href="/wiki/Chang_dance" title="Chang dance">Chang</a></li> <li><a href="/wiki/Chang_Lo" title="Chang Lo">Chang Lo</a></li> <li><a href="/wiki/Cheraw_dance" title="Cheraw dance">Cheraw</a></li> <li><a href="/wiki/Chhau_dance" title="Chhau dance">Chhau</a></li> <li><a href="/wiki/Chholiya" title="Chholiya">Chholiya</a></li> <li><a href="/wiki/Corridinho" title="Corridinho">Corridinho</a></li> <li><a href="/wiki/Dalkhai" title="Dalkhai">Dalkhai</a></li> <li><a href="/wiki/Dandiya_Raas" title="Dandiya Raas">Dandiya Raas</a></li> <li><a href="/wiki/Dhalo" title="Dhalo">Dhalo</a></li> <li><a href="/wiki/Dhunachi" title="Dhunachi">Dhunachi</a></li> <li><a href="/wiki/Dollu_Kunitha" title="Dollu Kunitha">Dollu Kunitha</a></li> <li><a href="/wiki/Domkach" title="Domkach">Domkach</a></li> <li><a href="/wiki/Domni" title="Domni">Domni</a></li> <li><a href="/wiki/Duffmuttu" title="Duffmuttu">Duffmuttu</a></li> <li><a href="/wiki/Dumhal" title="Dumhal">Dumhal</a></li> <li><a href="/wiki/Fugdi" title="Fugdi">Fugdi</a></li> <li><a href="/wiki/Garadi" title="Garadi">Garadi</a></li> <li><a href="/wiki/Garba_(dance)" title="Garba (dance)">Garba</a></li> <li><a href="/wiki/Giddha" title="Giddha">Giddha</a></li> <li><a href="/wiki/Ghoomar" title="Ghoomar">Ghoomar</a></li> <li><a href="/wiki/Ghumura_dance" title="Ghumura dance">Ghumura</a></li> <li><a href="/wiki/Gombhira" title="Gombhira">Gombhira</a></li> <li><a href="/wiki/Grida_dance" title="Grida dance">Grida</a></li> <li><a href="/wiki/Hojagiri" title="Hojagiri">Hojagiri</a></li> <li><a href="/wiki/Hulivesha" class="mw-redirect" title="Hulivesha">Hulivesha</a></li> <li><a href="/wiki/Jhumar" title="Jhumar">Jhumar</a></li> <li><a href="/wiki/Jhumair" title="Jhumair">Jhumair</a></li> <li><a href="/wiki/Kachchhi_Ghodi_dance" title="Kachchhi Ghodi dance">Kachhi Ghodi</a></li> <li><a href="/wiki/Kalbelia" title="Kalbelia">Kalbelia</a></li> <li><a href="/wiki/Karakattam" title="Karakattam">Karakattam</a></li> <li><a href="/wiki/Karma_Naach" title="Karma Naach">Karma</a></li> <li><a href="/wiki/Keisabadi" title="Keisabadi">Keisabadi</a></li> <li><a href="/wiki/Kikkli" title="Kikkli">Kikkli</a></li> <li><a href="/wiki/Kummi" title="Kummi">Kummi</a></li> <li><a href="/wiki/Lavani" title="Lavani">Lavani</a></li> <li><a href="/wiki/Lahasua" title="Lahasua">Lahasua</a></li> <li><a href="/wiki/Lezim" title="Lezim">Lezim</a></li> <li><a href="/wiki/Maach" title="Maach">Maach</a></li> <li><a href="/wiki/Malwai_Giddha" title="Malwai Giddha">Malwai Giddha</a></li> <li><a href="/wiki/Mardana_Jhumair" class="mw-redirect" title="Mardana Jhumair">Mardana Jhumair</a></li> <li><a href="/wiki/Matki_Dance" class="mw-redirect" title="Matki Dance">Matki</a></li> <li><a href="/wiki/Mayilattam" title="Mayilattam">Mayilattam</a></li> <li><a href="/wiki/Mussoll" title="Mussoll">Mussoll</a></li> <li><a href="/wiki/Nacn%C4%AB" title="Nacnī">Nacnī</a></li> <li><a href="/wiki/Nati_(dance)" title="Nati (dance)">Nati</a></li> <li><a href="/wiki/Oppana" title="Oppana">Oppana</a></li> <li><a href="/wiki/Oyilattam" title="Oyilattam">Oyilattam</a></li> <li><a href="/wiki/Padayani" title="Padayani">Padayani</a></li> <li><a href="/wiki/Pavri_Nach" title="Pavri Nach">Pavri Nach</a></li> <li><a href="/wiki/Phulpati_dance" title="Phulpati dance">Phulpati</a></li> <li><a href="/wiki/Puli_Kali" title="Puli Kali">Puli Kali</a></li> <li><a href="/wiki/Puliyattam" title="Puliyattam">Puliyattam</a></li> <li><a href="/wiki/Rasiya" title="Rasiya">Rasiya</a></li> <li><a href="/wiki/Raut_Nacha" title="Raut Nacha">Raut Nacha</a></li> <li><a href="/wiki/Saang" title="Saang">Saang</a></li> <li><a href="/wiki/Singhi_Chham" title="Singhi Chham">Singhi Chham</a></li> <li><a href="/wiki/Sword_dance" title="Sword dance">Sword dance</a></li> <li><a href="/wiki/Tertali" title="Tertali">Tertali</a></li> <li><a href="/wiki/Thirayattam" title="Thirayattam">Thirayattam</a></li> <li><a href="/wiki/Thitambu_Nritham" class="mw-redirect" title="Thitambu Nritham">Thitambu Nritham</a></li> <li><a href="/wiki/Tippani" title="Tippani">Tippani</a></li> <li><a href="/wiki/Veeragase" title="Veeragase">Veeragase</a></li> <li><a href="/wiki/Yakshagana" title="Yakshagana">Yakshagana</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Contemporary</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bollywood#Bollywood_song_and_dance" title="Bollywood">Bollywood song and dance</a></li> <li><a href="/wiki/Hindi_dance_music" title="Hindi dance music">Hindi dance songs</a></li> <li><a href="/wiki/Nautch" title="Nautch">Nautch</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Literature</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><i><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natya Shastra</a></i></li> <li><i><a href="/wiki/Abhinavabharati" title="Abhinavabharati">Abhinavabharati</a></i></li> <li><a href="/wiki/List_of_mudras_(dance)" title="List of mudras (dance)">Mudras</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By state</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Dance_forms_of_Andhra_Pradesh" title="Dance forms of Andhra Pradesh">Andhra Pradesh</a></li> <li><a href="/wiki/Folk_dances_of_Assam" title="Folk dances of Assam">Assam</a></li> <li><a href="/wiki/Traditional_dances_of_Himachal_Pradesh" title="Traditional dances of Himachal Pradesh">Himachal Pradesh</a></li> <li><a href="/wiki/Folk_dance_forms_of_Odisha" title="Folk dance forms of Odisha">Odisha</a></li> <li><a href="/wiki/Folk_dances_of_Punjab" title="Folk dances of Punjab">Punjab</a></li> <li><a href="/wiki/Dance_forms_of_Tamil_Nadu" title="Dance forms of Tamil Nadu">Tamil Nadu</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Accessories</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Ghungroo" title="Ghungroo">Ghungroo</a></li></ul> </div></td></tr></tbody></table></div> <div role="navigation" class="navbox" aria-labelledby="Culture_of_Odisha" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Odia_culture" title="Template:Odia culture"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Odia_culture" title="Template talk:Odia culture"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:Odia_culture&amp;action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Culture_of_Odisha" style="font-size:114%;margin:0 4em"><a href="/wiki/Culture_of_Odisha" title="Culture of Odisha">Culture of Odisha</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Dance</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;"><a href="/wiki/Indian_classical_dance" title="Indian classical dance">Classical</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Gotipua" title="Gotipua">Gotipua</a></li> <li><a href="/wiki/Mahari_dance" title="Mahari dance">Mahari</a></li> <li><a class="mw-selflink selflink">Odissi</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;"><a href="/wiki/Arts_of_Odisha" title="Arts of Odisha">Folk</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bagha_Nacha" title="Bagha Nacha">Bagha Nacha</a></li> <li><a href="/w/index.php?title=Chadheia_dance&amp;action=edit&amp;redlink=1" class="new" title="Chadheia dance (page does not exist)">Chadheia</a></li> <li><a href="/wiki/Chaiti_ghoda" title="Chaiti ghoda">Chaiti ghoda</a></li> <li><a href="/wiki/Chhau_dance" title="Chhau dance">Chhau</a></li> <li><a href="/w/index.php?title=Chutkuchuta_dance&amp;action=edit&amp;redlink=1" class="new" title="Chutkuchuta dance (page does not exist)">Chutkuchuta</a></li> <li><a href="/wiki/Dalkhai" title="Dalkhai">Dalkhai</a></li> <li><a href="/wiki/Danda_Nata" title="Danda Nata">Danda Nata</a></li> <li><a href="/w/index.php?title=Dhan_koela_dance&amp;action=edit&amp;redlink=1" class="new" title="Dhan koela dance (page does not exist)">Dhan Koela</a></li> <li><a href="/w/index.php?title=Dhuduki_dance&amp;action=edit&amp;redlink=1" class="new" title="Dhuduki dance (page does not exist)">Dhuduki</a></li> <li><a href="/wiki/Ghumura_Dance" class="mw-redirect" title="Ghumura Dance">Ghumura</a></li> <li><a href="/w/index.php?title=Jhumar_dance&amp;action=edit&amp;redlink=1" class="new" title="Jhumar dance (page does not exist)">Jhumar</a></li> <li><a href="/w/index.php?title=Jodi_sankha_dance&amp;action=edit&amp;redlink=1" class="new" title="Jodi sankha dance (page does not exist)">Jodi sankha</a></li> <li><a href="/wiki/Karma_Naach" title="Karma Naach">Karma</a></li> <li><a href="/w/index.php?title=Kandhei_nacha&amp;action=edit&amp;redlink=1" class="new" title="Kandhei nacha (page does not exist)">Kandhei nacha</a></li> <li><a href="/w/index.php?title=Kathi_Kandhei_dance&amp;action=edit&amp;redlink=1" class="new" title="Kathi Kandhei dance (page does not exist)">Kathi Kandhei</a></li> <li><a href="/wiki/Keisabadi" title="Keisabadi">Keisabadi</a></li> <li><a href="/wiki/Nacn%C4%AB" title="Nacnī">Nachni</a></li> <li><a href="/w/index.php?title=Naga_nrutya&amp;action=edit&amp;redlink=1" class="new" title="Naga nrutya (page does not exist)">Naga nrutya</a></li> <li><a href="/w/index.php?title=Pala_(dance)&amp;action=edit&amp;redlink=1" class="new" title="Pala (dance) (page does not exist)">Pala</a></li> <li><a href="/w/index.php?title=Rasarkeli_dance&amp;action=edit&amp;redlink=1" class="new" title="Rasarkeli dance (page does not exist)">Rasarkeli</a></li> <li><a href="/w/index.php?title=Ranapa_dance&amp;action=edit&amp;redlink=1" class="new" title="Ranapa dance (page does not exist)">Ranapa</a></li> <li><a href="/w/index.php?title=Sambalpuri_dance&amp;action=edit&amp;redlink=1" class="new" title="Sambalpuri dance (page does not exist)">Sambalpuri</a></li> <li><a href="/w/index.php?title=Samprada_dance&amp;action=edit&amp;redlink=1" class="new" title="Samprada dance (page does not exist)">Samprada</a></li> <li><a href="/w/index.php?title=Laudi_dance&amp;action=edit&amp;redlink=1" class="new" title="Laudi dance (page does not exist)">Laudi nata</a></li> <li><a href="/w/index.php?title=Lankapodi&amp;action=edit&amp;redlink=1" class="new" title="Lankapodi (page does not exist)">Lankapodi</a></li> <li><a href="/w/index.php?title=Lila_dance&amp;action=edit&amp;redlink=1" class="new" title="Lila dance (page does not exist)">Lila</a></li> <li><a href="/w/index.php?title=Tamasa_dance&amp;action=edit&amp;redlink=1" class="new" title="Tamasa dance (page does not exist)">Tamasa</a></li> <li><a href="/w/index.php?title=Pasu_nrutya&amp;action=edit&amp;redlink=1" class="new" title="Pasu nrutya (page does not exist)">Pasu nrutya</a></li> <li><a href="/w/index.php?title=Patua_dance&amp;action=edit&amp;redlink=1" class="new" title="Patua dance (page does not exist)">Patua</a></li> <li><a href="/w/index.php?title=Sakhi_Nata&amp;action=edit&amp;redlink=1" class="new" title="Sakhi Nata (page does not exist)">Sakhi Nata</a></li> <li><a href="/w/index.php?title=Suanga&amp;action=edit&amp;redlink=1" class="new" title="Suanga (page does not exist)">Suanga</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Tribal</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/w/index.php?title=Desia_dance&amp;action=edit&amp;redlink=1" class="new" title="Desia dance (page does not exist)">Desia</a></li> <li><a href="/w/index.php?title=Gadaba_dance&amp;action=edit&amp;redlink=1" class="new" title="Gadaba dance (page does not exist)">Gadaba</a></li> <li><a href="/w/index.php?title=Kandha_dance&amp;action=edit&amp;redlink=1" class="new" title="Kandha dance (page does not exist)">Kandha</a></li> <li><a href="/w/index.php?title=Koya_dane&amp;action=edit&amp;redlink=1" class="new" title="Koya dane (page does not exist)">Koya</a></li> <li><a href="/w/index.php?title=Onra_dance&amp;action=edit&amp;redlink=1" class="new" title="Onra dance (page does not exist)">Onra</a></li> <li><a href="/w/index.php?title=Paraja_dance&amp;action=edit&amp;redlink=1" class="new" title="Paraja dance (page does not exist)">Paraja</a></li> <li><a href="/w/index.php?title=Saura_dance&amp;action=edit&amp;redlink=1" class="new" title="Saura dance (page does not exist)">Saura</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Music_of_Odisha" title="Music of Odisha">Music</a></th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Odissi_music" title="Odissi music">Odissi</a></li> <li><a href="/wiki/Khanjani" title="Khanjani">Khanjani</a></li> <li><a href="/w/index.php?title=Kendara_gita&amp;action=edit&amp;redlink=1" class="new" title="Kendara gita (page does not exist)">Kendara</a></li> <li><a href="/wiki/Dhumpa_sangita" title="Dhumpa sangita">Dhumpa</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Play, theatre and<br />puppetry</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Play and theatre</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bharata_Lila" title="Bharata Lila">Bharata Lila</a></li> <li><a href="/wiki/Dasakathia" title="Dasakathia">Dasakathia</a></li> <li><a href="/wiki/Dhanu_Jatra" class="mw-redirect" title="Dhanu Jatra">Dhanu Jatra</a></li> <li><a href="/wiki/Prahallada_Nataka" title="Prahallada Nataka">Prahallada Nataka</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Puppetry</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Ravana_chhaya" title="Ravana chhaya">Ravana chhaya</a></li> <li><a href="/wiki/Sakhi_kandhei" title="Sakhi kandhei">Sakhi kandhei</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Wedding</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Odia_Hindu_wedding" title="Odia Hindu wedding">Odia Hindu wedding</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Festivals_of_Odisha" title="Festivals of Odisha">Festivals</a></th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bali_Jatra" title="Bali Jatra">Bali Jatra</a></li> <li><a href="/wiki/Boita_Bandana" title="Boita Bandana">Boita Bandana</a></li> <li><a href="/wiki/Diwali" title="Diwali">Deepabali</a></li> <li><a href="/wiki/Dola_Yatra" class="mw-redirect" title="Dola Yatra">Dola Jatra</a></li> <li><a href="/wiki/Nuakhai" title="Nuakhai">Nuakhai</a></li> <li><a href="/wiki/Raksha_Bandhan" title="Raksha Bandhan">Gamha Purnima</a></li> <li><a href="/wiki/Sharad_Purnima" title="Sharad Purnima">Kumar Purnima</a></li> <li><a href="/wiki/Makar_Sankranti" title="Makar Sankranti">Makar Sankranti</a></li> <li><a href="/wiki/Manabasa_Gurubara" title="Manabasa Gurubara">Manabasa Gurubara</a></li> <li><a href="/wiki/Pana_Sankranti" title="Pana Sankranti">Pana Sankranti(Maha Vishuba Sankranti)</a></li> <li><a href="/wiki/Pousha_Purnima" title="Pousha Purnima">Pousha Purnima</a></li> <li><a href="/wiki/Prathamastami" title="Prathamastami">Prathamastami</a></li> <li><a href="/wiki/Ratha_Yatra_(Puri)" title="Ratha Yatra (Puri)">Ratha Jatra</a></li> <li><a href="/wiki/Raja_(festival)" title="Raja (festival)">Raja</a></li> <li><a href="/wiki/Samba_Dashami" title="Samba Dashami">Samba Dashami</a></li> <li><a href="/wiki/Savitri_Brata" title="Savitri Brata">Savitri Brata</a></li> <li><a href="/wiki/Sitalsasthi" title="Sitalsasthi">Sitalsasthi</a></li> <li><a href="/wiki/Snana_Yatra" title="Snana Yatra">Snana Jatra</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Martial arts</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Paika_akhada" title="Paika akhada">Paika akhada</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Handlooms</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/w/index.php?title=Baleswari_bandha&amp;action=edit&amp;redlink=1" class="new" title="Baleswari bandha (page does not exist)">Baleswari bandha</a></li> <li><a href="/wiki/Berhampur_Patta" title="Berhampur Patta">Berhampuri</a></li> <li><a href="/wiki/Bomkai_sari" title="Bomkai sari">Bomkai (Sonepuri)</a></li> <li><a href="/wiki/Dhalapathar_Parda_%26_Fabrics" title="Dhalapathar Parda &amp; Fabrics">Dhalapathar</a></li> <li><a href="/wiki/Gopalpur_Tussar_Fabrics" title="Gopalpur Tussar Fabrics">Gopalpur Tussar</a></li> <li><a href="/wiki/Habaspuri_sari" title="Habaspuri sari">Habaspuri</a></li> <li><a href="/wiki/Kotpad_Handloom_fabrics" title="Kotpad Handloom fabrics">Kotpad</a></li> <li><a href="/wiki/Odisha_Ikat" title="Odisha Ikat">Ikat</a></li> <li><a href="/wiki/Pasapali_sari" title="Pasapali sari">Pasapali</a></li> <li><a href="/wiki/Sambalpuri_sari" title="Sambalpuri sari">Sambalpuri</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Arts and<br />Handicrafts</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Arts</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Pattachitra" title="Pattachitra">Pattachitra</a></li> <li><a href="/wiki/Jhoti_chita" title="Jhoti chita">Jhoti chita</a></li> <li><a href="/wiki/Saura_painting" title="Saura painting">Saura painting</a> <ul><li><a href="/wiki/Idital" title="Idital">Idital</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Handicrafts</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Pipili_appliqu%C3%A9_work" title="Pipili appliqué work">Chandua</a></li> <li><a href="/wiki/Tarakasi" title="Tarakasi">Tarakasi</a></li> <li><a href="/wiki/Ganjapa" title="Ganjapa">Ganjapa</a></li> <li><a href="/w/index.php?title=Clay_idols_of_Odisha&amp;action=edit&amp;redlink=1" class="new" title="Clay idols of Odisha (page does not exist)">Clay</a></li> <li><a href="/wiki/Stone_carving_in_Odisha" title="Stone carving in Odisha">Stoneworks</a></li> <li><a href="/w/index.php?title=Wooden_crafts_of_Odisha&amp;action=edit&amp;redlink=1" class="new" title="Wooden crafts of Odisha (page does not exist)">Wooden crafts</a></li> <li><a href="/w/index.php?title=Bell_metal_%26_Bronze_works_of_Odisha&amp;action=edit&amp;redlink=1" class="new" title="Bell metal &amp; Bronze works of Odisha (page does not exist)">Bronze &amp; Bell metal works</a></li> <li><a href="/wiki/Dhokra" title="Dhokra">Dhokra</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Architecture</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Kalinga_architecture" title="Kalinga architecture">Kalinga architecture</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Calendar (<a href="/wiki/Panjika" title="Panjika">Panjika</a>)</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Odia_calendar" title="Odia calendar">Odia calendar</a></li> <li><a href="/wiki/Anka_year" title="Anka year">Anka year</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><img alt="Category" src="/media/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" title="Category" width="16" height="16" srcset="/media/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, /media/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /> <a href="/wiki/Category:Odia_culture" title="Category:Odia culture">Category</a></div></td></tr></tbody></table></div> <div role="navigation" class="navbox" aria-labelledby="Dance" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Dance" title="Template:Dance"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Dance" title="Template talk:Dance"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:Dance&amp;action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Dance" style="font-size:114%;margin:0 4em"><a href="/wiki/Dance" title="Dance">Dance</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div id="*_Index_*_Outline"> <ul><li><a href="/wiki/Index_of_dance_articles" title="Index of dance articles">Index</a></li> <li><a href="/wiki/Outline_of_dance" title="Outline of dance">Outline</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Participation</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Solo_dance" title="Solo dance">Solo</a></li> <li><a href="/wiki/Partner_dance" title="Partner dance">Partner</a> <ul><li><a href="/wiki/Close_embrace" title="Close embrace">close embrace</a></li> <li><a href="/wiki/Closed_position" title="Closed position">closed position</a></li> <li><a href="/wiki/Open_position" title="Open position">open position</a></li> <li><a href="/wiki/Slow_dance" title="Slow dance">slow dance</a></li></ul></li> <li><a href="/wiki/Group_dance" title="Group dance">Group</a> <ul><li><a href="/wiki/Circle_dance" title="Circle dance">Circle</a></li> <li><a href="/wiki/Contra_dance" title="Contra dance">Contra</a></li> <li><a href="/wiki/Line_dance" title="Line dance">Line</a></li> <li><a href="/wiki/Round_dance" title="Round dance">Round</a></li> <li><a href="/wiki/Square_dance" title="Square dance">Square</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Social_dance" title="Social dance">Social</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Ceremonial_dance" title="Ceremonial dance">Ceremonial</a></li> <li><a href="/wiki/Competitive_dance" title="Competitive dance">Competitive</a></li> <li><a href="/wiki/Concert_dance" title="Concert dance">Concert</a></li> <li><a href="/wiki/Ecstatic_dance" title="Ecstatic dance">Ecstatic</a></li> <li><a href="/wiki/Erotic_dance" title="Erotic dance">Erotic</a></li> <li><a href="/wiki/Novelty_and_fad_dances" title="Novelty and fad dances">Fad</a></li> <li><a href="/wiki/Folk_dance" title="Folk dance">Folk</a></li> <li><a href="/wiki/Sacred_dance" title="Sacred dance">Sacred</a></li> <li><a href="/wiki/Street_dance" title="Street dance">Street</a></li> <li><a href="/wiki/War_dance" title="War dance">War</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Major present-day <a href="/wiki/List_of_dance_style_categories" class="mw-redirect" title="List of dance style categories">genres</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Acro_dance" title="Acro dance">Acro</a></li> <li><a href="/wiki/Ballet" title="Ballet">Ballet</a></li> <li><a href="/wiki/Ballroom_dance" title="Ballroom dance">Ballroom</a> <ul><li><a href="/wiki/Waltz" title="Waltz">Waltz</a></li> <li><a href="/wiki/Formation_dance" title="Formation dance">Formation</a></li></ul></li> <li><a href="/wiki/Belly_dance" title="Belly dance">Belly</a></li> <li><a href="/wiki/Breakdancing" title="Breakdancing">Breaking</a></li> <li><a href="/wiki/Contemporary_dance" title="Contemporary dance">Contemporary</a></li> <li><a href="/wiki/Country%E2%80%93western_dance" title="Country–western dance">Country–western</a></li> <li><a href="/wiki/Boogaloo_(freestyle_dance)" class="mw-redirect" title="Boogaloo (freestyle dance)">Boogaloo</a></li> <li><a href="/wiki/Flamenco" title="Flamenco">Flamenco</a></li> <li><a href="/wiki/Hip-hop_dance" title="Hip-hop dance">Hip-hop</a></li> <li><a href="/wiki/Jazz_dance" title="Jazz dance">Jazz</a></li> <li><a href="/wiki/Latin_dance" title="Latin dance">Latin</a></li> <li><a href="/wiki/Lyrical_dance" title="Lyrical dance">Lyrical</a></li> <li><a href="/wiki/Modern_dance" title="Modern dance">Modern</a></li> <li><a href="/wiki/Polka" title="Polka">Polka</a></li> <li><a href="/wiki/Postmodern_dance" title="Postmodern dance">Postmodern</a></li> <li><a href="/wiki/Swing_(dance)" title="Swing (dance)">Swing</a></li> <li><a href="/wiki/Tap_dance" title="Tap dance">Tap</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Dance_technique" title="Category:Dance technique">Technique</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Ballet_technique" title="Ballet technique">Ballet technique</a></li> <li><a href="/wiki/Choreography_(dance)" title="Choreography (dance)">Choreography</a></li> <li><a href="/wiki/Connection_(dance)" title="Connection (dance)">Connection</a></li> <li><a href="/wiki/Dance_theory" title="Dance theory">Dance theory</a></li> <li><a href="/wiki/Graham_technique" title="Graham technique">Graham</a></li> <li><a href="/wiki/Lead_and_follow" title="Lead and follow">Lead and follow</a></li> <li><a href="/wiki/Pole_dance" title="Pole dance">Pole dance</a></li> <li><a href="/wiki/Dance_move" title="Dance move">Moves</a>&#160;(<a href="/wiki/Glossary_of_dance_moves" title="Glossary of dance moves">glossary</a>)</li> <li><a href="/wiki/Musicality_(dance)" class="mw-redirect" title="Musicality (dance)">Musicality</a></li> <li><a href="/wiki/Pointe_technique" title="Pointe technique">Pointe</a></li> <li><a href="/wiki/Sequence_dance" title="Sequence dance">Sequence dance</a></li> <li><a href="/wiki/Spotting_(dance_technique)" title="Spotting (dance technique)">Spotting</a></li> <li><a href="/wiki/Turnout_(ballet)" title="Turnout (ballet)">Turnout</a></li> <li><a href="/wiki/Turn_(dance_and_gymnastics)" title="Turn (dance and gymnastics)">Turns</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_ethnic,_regional,_and_folk_dances_by_origin" title="List of ethnic, regional, and folk dances by origin">Regional</a><br />(<a href="/wiki/List_of_national_dances" title="List of national dances">National dances</a>)</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Arab_dance" class="mw-redirect" title="Arab dance">Arab</a></li> <li><a href="/wiki/African_dance" title="African dance">Africa</a></li> <li><a href="/wiki/Armenian_dance" title="Armenian dance">Armenia</a></li> <li><a href="/wiki/Assyrian_folk_dance" title="Assyrian folk dance">Assyrian</a></li> <li><a href="/wiki/Austrian_folk_dance" title="Austrian folk dance">Austria</a></li> <li><a href="/wiki/Azerbaijani_dances" title="Azerbaijani dances">Azerbaijan</a></li> <li><a href="/wiki/Bulgarian_dances" title="Bulgarian dances">Bulgaria</a></li> <li><a href="/wiki/Burmese_dance" title="Burmese dance">Burma (Myanmar)</a></li> <li><a href="/wiki/Dance_in_Cambodia" title="Dance in Cambodia">Cambodia</a></li> <li><a href="/wiki/Dance_in_China" title="Dance in China">China</a></li> <li><a href="/wiki/Croatian_dances" title="Croatian dances">Croatia</a></li> <li><a href="/wiki/Dance_in_Cuba" title="Dance in Cuba">Cuba</a></li> <li><a href="/wiki/Danish_folk_dance" title="Danish folk dance">Denmark</a></li> <li><a href="/wiki/European_dances" title="European dances">Europe</a></li> <li><a href="/wiki/Georgian_dance" title="Georgian dance">Georgia</a></li> <li><a href="/wiki/Greek_dances" title="Greek dances">Greece</a></li> <li><a href="/wiki/Dance_in_India" title="Dance in India">India</a></li> <li><a href="/wiki/Dance_in_Indonesia" title="Dance in Indonesia">Indonesia</a></li> <li><a href="/wiki/Faroese_dance" class="mw-redirect" title="Faroese dance">Faroe Islands</a></li> <li><a href="/wiki/Israeli_folk_dancing" title="Israeli folk dancing">Israel</a></li> <li><a href="/wiki/Irish_dance" title="Irish dance">Ireland</a></li> <li><a href="/wiki/Italian_folk_dance" title="Italian folk dance">Italy</a></li> <li><a href="/wiki/Japanese_traditional_dance" title="Japanese traditional dance">Japan</a></li> <li><a href="/wiki/Korean_dance" title="Korean dance">Korea</a></li> <li><a href="/wiki/Kurdish_dance" title="Kurdish dance">Kurdish</a></li> <li><a href="/wiki/Folk_dance_of_Mexico" title="Folk dance of Mexico">Mexico</a></li> <li><a href="/wiki/Middle_Eastern_dance" title="Middle Eastern dance">Middle East</a></li> <li><a href="/wiki/Dutch_folk_dance" title="Dutch folk dance">Netherlands</a></li> <li><a href="/wiki/Persian_dance" class="mw-redirect" title="Persian dance">Persian</a></li> <li><a href="/wiki/Peruvian_dances" title="Peruvian dances">Peru</a></li> <li><a href="/wiki/Philippine_dance" title="Philippine dance">Philippines</a></li> <li><a href="/wiki/Polish_folk_dances" title="Polish folk dances">Poland</a></li> <li><a href="/wiki/Romani_dance" title="Romani dance">Romani</a></li> <li><a href="/wiki/Russian_traditional_dance" title="Russian traditional dance">Russia</a></li> <li><a href="/wiki/Serbian_dances" title="Serbian dances">Serbia</a></li> <li><a href="/wiki/Dances_of_Sri_Lanka" title="Dances of Sri Lanka">Sri Lanka</a></li> <li><a href="/wiki/Dance_in_Thailand" title="Dance in Thailand">Thailand</a></li> <li><a href="/wiki/Turkish_dance" title="Turkish dance">Turkey</a></li> <li><a href="/wiki/Ukrainian_dance" title="Ukrainian dance">Ukraine</a></li> <li><a href="/wiki/Dance_in_the_United_States" title="Dance in the United States">United States</a> <ul><li><a href="/wiki/African-American_dance" title="African-American dance">African-American</a></li></ul></li> <li><a href="/wiki/Dance_in_Venezuela" title="Dance in Venezuela">Venezuela</a></li> <li><a href="/wiki/Traditional_Vietnamese_dance" title="Traditional Vietnamese dance">Vietnam</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Dance" title="Category:Dance">Related</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Physically_integrated_dance" title="Physically integrated dance">Dance and disability</a></li> <li><a href="/wiki/Dance_and_health" title="Dance and health">Dance and health</a></li> <li><a href="/wiki/Dance_awards" class="mw-redirect" title="Dance awards">Dance awards</a></li> <li><a href="/wiki/Dance_costume" title="Dance costume">Dance costume</a></li> <li><a href="/wiki/Dance_etiquette" title="Dance etiquette">Dance etiquette</a></li> <li><a href="/wiki/Dance_notation" title="Dance notation">Dance notation</a></li> <li><a href="/wiki/Dance_in_film" title="Dance in film">Dance in film</a></li> <li><a href="/wiki/Dance_in_mythology_and_religion" title="Dance in mythology and religion">Dance in mythology and religion</a></li> <li><a href="/wiki/List_of_dance_occupations" title="List of dance occupations">Dance occupations</a></li> <li><a href="/wiki/Dance_on_television" title="Dance on television">Dance on television</a></li> <li><a href="/wiki/Dance_research" title="Dance research">Dance research</a></li> <li><a href="/wiki/Dance_science" title="Dance science">Dance science</a></li> <li><a href="/wiki/Dance_technology" title="Dance technology">Dance technology</a></li> <li><a href="/wiki/Dance_troupe" title="Dance troupe">Dance troupe</a></li> <li><a href="/wiki/Dancing_mania" title="Dancing mania">Dancing mania</a></li> <li><a href="/wiki/History_of_dance" title="History of dance">History of dance</a></li> <li><a href="/wiki/Women_in_dance" title="Women in dance">Women in dance</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><img alt="List-Class article" src="/media/wikipedia/en/thumb/d/db/Symbol_list_class.svg/16px-Symbol_list_class.svg.png" decoding="async" title="List-Class article" width="16" height="16" srcset="/media/wikipedia/en/thumb/d/db/Symbol_list_class.svg/23px-Symbol_list_class.svg.png 1.5x, /media/wikipedia/en/thumb/d/db/Symbol_list_class.svg/31px-Symbol_list_class.svg.png 2x" data-file-width="180" data-file-height="185" /> <a href="/wiki/List_of_dances" title="List of dances">List of dances</a></div></td></tr></tbody></table></div> <div role="navigation" class="navbox" aria-labelledby="Hinduism_topics" style="padding:3px"><table class="nowraplinks hlist mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3" style="background:#FFC569;"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Hindudharma" title="Template:Hindudharma"><abbr title="View this template" style="background:#FFC569;;;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Hindudharma" title="Template talk:Hindudharma"><abbr title="Discuss this template" style="background:#FFC569;;;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="/w/index.php?title=Template:Hindudharma&amp;action=edit"><abbr title="Edit this template" style="background:#FFC569;;;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Hinduism_topics" style="font-size:114%;margin:0 4em"><a href="/wiki/Hinduism" title="Hinduism">Hinduism</a> <a href="/wiki/Outline_of_Hinduism" title="Outline of Hinduism">topics</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="3" style="background:#FFC569;;font-weight:bold;"><div id="*_Glossary"> <ul><li><a href="/wiki/Glossary_of_Hinduism_terms" title="Glossary of Hinduism terms">Glossary</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFC569;;width:1%"><a href="/wiki/Hindu_philosophy" title="Hindu philosophy">Philosophy</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px;background:transparent;"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Glossary_of_Hinduism_terms" title="Glossary of Hinduism terms">Concepts</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Brahman" title="Brahman">Brahman</a></li> <li><a href="/wiki/Om" title="Om">Om</a></li> <li><a href="/wiki/Ishvara" title="Ishvara">Ishvara</a></li> <li><a href="/wiki/%C4%80tman_(Hinduism)" title="Ātman (Hinduism)">Atman</a></li> <li><a href="/wiki/Maya_(religion)" title="Maya (religion)">Maya</a></li> <li><a href="/wiki/Karma" title="Karma">Karma</a></li> <li><a href="/wiki/Sa%E1%B9%83s%C4%81ra" title="Saṃsāra">Saṃsāra</a></li></ul> <ul><li><a href="/wiki/Puru%E1%B9%A3%C4%81rtha" title="Puruṣārtha">Puruṣārthas</a> <ul><li><a href="/wiki/Dharma" title="Dharma">Dharma</a></li> <li><a href="/wiki/Artha" title="Artha">Artha</a></li> <li><a href="/wiki/Kama" title="Kama">Kama</a></li> <li><a href="/wiki/Moksha" title="Moksha">Moksha</a></li></ul></li></ul> <ul><li><a href="/wiki/Ethics_in_religion#Hindu_ethics" title="Ethics in religion">Niti</a> <ul><li><a href="/wiki/Ahimsa" title="Ahimsa">Ahimsa</a></li> <li><a href="/wiki/Achourya" title="Achourya">Asteya</a></li> <li><a href="/wiki/Aparigraha" class="mw-redirect" title="Aparigraha">Aparigraha</a></li> <li><a href="/wiki/Brahmacarya" title="Brahmacarya">Brahmacharya</a></li> <li><a href="/wiki/Satya" title="Satya">Satya</a></li> <li><a href="/wiki/D%C4%81na" title="Dāna">Dāna</a></li> <li><a href="/wiki/Temperance_(virtue)#Hinduism" title="Temperance (virtue)">Damah</a></li> <li><a href="/wiki/Compassion#Hinduism" title="Compassion">Dayā</a></li> <li><a href="/wiki/Akrodha" title="Akrodha">Akrodha</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Hindu_philosophy" title="Hindu philosophy">Schools</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/%C4%80stika_and_n%C4%81stika" title="Āstika and nāstika">Āstika</a>: <a href="/wiki/Samkhya" title="Samkhya">Samkhya</a></li> <li><a href="/wiki/Yoga" title="Yoga">Yoga</a></li> <li><a href="/wiki/Nyaya" title="Nyaya">Nyaya</a></li> <li><a href="/wiki/Vaisheshika" title="Vaisheshika">Vaisheshika</a></li> <li><a href="/wiki/M%C4%ABm%C4%81%E1%B9%83s%C4%81" title="Mīmāṃsā">Mīmāṃsā</a></li> <li><a href="/wiki/Vedanta" title="Vedanta">Vedanta</a> <ul><li><i><a href="/wiki/Dvaita_Vedanta" title="Dvaita Vedanta">Dvaita</a></i></li> <li><i><a href="/wiki/Advaita_Vedanta" title="Advaita Vedanta">Advaita</a></i></li> <li><i><a href="/wiki/Vishishtadvaita" title="Vishishtadvaita">Vishishtadvaita</a></i></li></ul></li> <li><a href="/wiki/%C4%80stika_and_n%C4%81stika" title="Āstika and nāstika">Nāstika</a>: <a href="/wiki/Charvaka" title="Charvaka">Charvaka</a></li></ul> </div></td></tr></tbody></table><div></div></td><td class="noviewer navbox-image" rowspan="5" style="width:1px;padding:0px 0px 0px 2px"><div><img alt="Hindu &quot;Om&quot; symbol" src="/media/wikipedia/commons/thumb/6/69/Aum_Om_navy_blue_circle_hollow_coral.svg/100px-Aum_Om_navy_blue_circle_hollow_coral.svg.png" decoding="async" title="Hindu &quot;Om&quot; symbol" width="100" height="99" srcset="/media/wikipedia/commons/thumb/6/69/Aum_Om_navy_blue_circle_hollow_coral.svg/150px-Aum_Om_navy_blue_circle_hollow_coral.svg.png 1.5x, /media/wikipedia/commons/thumb/6/69/Aum_Om_navy_blue_circle_hollow_coral.svg/200px-Aum_Om_navy_blue_circle_hollow_coral.svg.png 2x" data-file-width="512" data-file-height="507" /></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFC569;;width:1%"><a href="/wiki/Hindu_texts" title="Hindu texts">Texts</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px;background:transparent;"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;">Classification</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/%C5%9Aruti" title="Śruti">Śruti</a></li> <li><a href="/wiki/Smriti" title="Smriti">Smriti</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Vedas" title="Vedas">Vedas</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-even" style="width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Rigveda" title="Rigveda">Rigveda</a></li> <li><a href="/wiki/Yajurveda" title="Yajurveda">Yajurveda</a></li> <li><a href="/wiki/Samaveda" title="Samaveda">Samaveda</a></li> <li><a href="/wiki/Atharvaveda" title="Atharvaveda">Atharvaveda</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;">Divisions</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Vedic_chant" title="Vedic chant">Samhita</a></li> <li><a href="/wiki/Brahmana" title="Brahmana">Brahmana</a></li> <li><a href="/wiki/Aranyaka" title="Aranyaka">Aranyaka</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Upanishads" title="Upanishads">Upanishads</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Aitareya_Upanishad" title="Aitareya Upanishad">Aitareya</a></li> <li><a href="/wiki/Kaushitaki_Upanishad" title="Kaushitaki Upanishad">Kaushitaki</a></li> <li><a href="/wiki/Brihadaranyaka_Upanishad" title="Brihadaranyaka Upanishad">Brihadaranyaka</a></li> <li><a href="/wiki/Isha_Upanishad" title="Isha Upanishad">Isha</a></li> <li><a href="/wiki/Taittiriya_Upanishad" title="Taittiriya Upanishad">Taittiriya</a></li> <li><a href="/wiki/Katha_Upanishad" title="Katha Upanishad">Katha</a></li> <li><a href="/wiki/Maitrayaniya_Upanishad" title="Maitrayaniya Upanishad">Maitrayaniya</a></li> <li><a href="/wiki/Shvetashvatara_Upanishad" title="Shvetashvatara Upanishad">Shvetashvatara</a></li> <li><a href="/wiki/Chandogya_Upanishad" title="Chandogya Upanishad">Chandogya</a></li> <li><a href="/wiki/Kena_Upanishad" title="Kena Upanishad">Kena</a></li> <li><a href="/wiki/Mundaka_Upanishad" title="Mundaka Upanishad">Mundaka</a></li> <li><a href="/wiki/Mandukya_Upanishad" title="Mandukya Upanishad">Mandukya</a></li> <li><a href="/wiki/Prashna_Upanishad" title="Prashna Upanishad">Prashna</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Upaveda" class="mw-redirect" title="Upaveda">Upavedas</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Ayurveda" title="Ayurveda">Ayurveda</a></li> <li><a href="/wiki/Indian_martial_arts" title="Indian martial arts">Dhanurveda</a></li> <li><a href="/wiki/Natya_Shastra" title="Natya Shastra">Natyaveda</a></li> <li><a href="/wiki/Hindu_temple_architecture" title="Hindu temple architecture">Sthapatyaveda</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Vedanga" title="Vedanga">Vedanga</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Shiksha" title="Shiksha">Shiksha</a></li> <li><a href="/wiki/Sanskrit_prosody" title="Sanskrit prosody">Chandas</a></li> <li><a href="/wiki/Vy%C4%81kara%E1%B9%87a" title="Vyākaraṇa">Vyākaraṇa</a></li> <li><a href="/wiki/Nirukta" title="Nirukta">Nirukta</a></li> <li><a href="/wiki/Kalpa_(Vedanga)" title="Kalpa (Vedanga)">Kalpa</a></li> <li><a href="/wiki/Jyotisha" class="mw-redirect" title="Jyotisha">Jyotisha</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/List_of_Hindu_texts" title="List of Hindu texts">Other</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Bhagavad_Gita" title="Bhagavad Gita">Bhagavad Gita</a></li> <li><a href="/wiki/Agama_(Hinduism)" title="Agama (Hinduism)">Agamas</a></li> <li><a href="/wiki/Itihasa" title="Itihasa">Itihasas</a> <ul><li><a href="/wiki/Ramayana" title="Ramayana">Ramayana</a></li> <li><a href="/wiki/Mahabharata" title="Mahabharata">Mahabharata</a></li></ul></li> <li><a href="/wiki/Puranas" title="Puranas">Puranas</a></li> <li><a href="/wiki/Upanishads#Classification" title="Upanishads">Minor Upanishads</a></li> <li><a href="/wiki/Arthashastra" title="Arthashastra">Arthashastra</a></li> <li><a href="/wiki/Nitisara" title="Nitisara">Nitisara</a></li> <li><a href="/wiki/Dharma%C5%9B%C4%81stra" title="Dharmaśāstra">Dharmaśāstra</a> <ul><li><a href="/wiki/Manusmriti" title="Manusmriti">Manusmriti</a></li> <li><a href="/wiki/N%C4%81radasm%E1%B9%9Bti" title="Nāradasmṛti">Nāradasmṛti</a></li> <li><a href="/wiki/Y%C4%81j%C3%B1avalkya_Sm%E1%B9%9Bti" title="Yājñavalkya Smṛti">Yājñavalkya Smṛti</a></li></ul></li> <li><a href="/wiki/Sutra" title="Sutra">Sutras</a></li> <li><a href="/wiki/Stotra" title="Stotra">Stotras</a></li> <li><a href="/wiki/Subhashita" title="Subhashita">Subhashita</a></li> <li><a href="/wiki/Tantras_(Hinduism)" title="Tantras (Hinduism)">Tantras</a></li> <li><a href="/wiki/Yoga_Vasistha" title="Yoga Vasistha">Yoga Vasistha</a></li> <li><i><a href="/wiki/Yoga_Sutras_of_Patanjali" title="Yoga Sutras of Patanjali">Yoga Sutras of Patanjali</a></i></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFC569;;width:1%"><a href="/wiki/Hindu_deities" title="Hindu deities">Deities</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px;background:transparent;"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Deva_(Hinduism)" title="Deva (Hinduism)">Gods</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Trimurti" title="Trimurti">Trimurti</a> <ul><li><a href="/wiki/Brahma" title="Brahma">Brahma</a></li> <li><a href="/wiki/Vishnu" title="Vishnu">Vishnu</a></li> <li><a href="/wiki/Shiva" title="Shiva">Shiva</a></li></ul></li> <li><a href="/wiki/Rama" title="Rama">Rama</a></li> <li><a href="/wiki/Krishna" title="Krishna">Krishna</a></li> <li><a href="/wiki/Ganesha" title="Ganesha">Ganesha</a></li> <li><a href="/wiki/Kartikeya" title="Kartikeya">Kartikeya</a></li> <li><a href="/wiki/Hanuman" title="Hanuman">Hanuman</a></li> <li><a href="/wiki/Indra" title="Indra">Indra</a></li> <li><a href="/wiki/Agni" title="Agni">Agni</a></li> <li><a href="/wiki/Surya" title="Surya">Surya</a></li> <li><a href="/wiki/Vayu" title="Vayu">Vayu</a></li> <li><a href="/wiki/Varuna" title="Varuna">Varuna</a></li> <li><a href="/wiki/Category:Hindu_gods" title="Category:Hindu gods"><i>more</i></a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Devi" title="Devi">Goddesses</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Tridevi" title="Tridevi">Tridevi</a> <ul><li><a href="/wiki/Saraswati" title="Saraswati">Saraswati</a></li> <li><a href="/wiki/Lakshmi" title="Lakshmi">Lakshmi</a></li> <li><a href="/wiki/Parvati" title="Parvati">Parvati</a></li></ul></li> <li><a href="/wiki/Shakti" title="Shakti">Shakti</a></li> <li><a href="/wiki/Durga" title="Durga">Durga</a></li> <li><a href="/wiki/Kali" title="Kali">Kali</a></li> <li><a href="/wiki/Sati_(Hindu_goddess)" title="Sati (Hindu goddess)">Sati</a></li> <li><a href="/wiki/Sita" title="Sita">Sita</a></li> <li><a href="/wiki/Radha" title="Radha">Radha</a></li> <li><a href="/wiki/Mahavidya" title="Mahavidya">Mahavidya</a></li> <li><a href="/wiki/Matrika" class="mw-redirect" title="Matrika">Matrika</a></li> <li><a href="/wiki/Bhumi_(goddess)" title="Bhumi (goddess)">Bhumi</a></li> <li><a href="/wiki/Category:Hindu_goddesses" title="Category:Hindu goddesses"><i>more</i></a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFC569;;width:1%">Practices</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px;background:transparent;"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Worship_in_Hinduism" title="Worship in Hinduism">Worship</a></th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Hindu_temple" title="Hindu temple">Temple</a></li> <li><a href="/wiki/Murti" title="Murti">Murti</a></li> <li><a href="/wiki/Puja_(Hinduism)" title="Puja (Hinduism)">Puja</a></li> <li><a href="/wiki/Bhakti" title="Bhakti">Bhakti</a></li> <li><a href="/wiki/Japa" title="Japa">Japa</a></li> <li><a href="/wiki/Bhajan" title="Bhajan">Bhajan</a></li> <li><a href="/wiki/Naivedhya" title="Naivedhya">Naivedhya</a></li> <li><a href="/wiki/Yajna" title="Yajna">Yajna</a></li> <li><a href="/wiki/Homa_(ritual)" title="Homa (ritual)">Homa</a></li> <li><a href="/wiki/Tapas_(Indian_religions)" title="Tapas (Indian religions)">Tapas</a></li> <li><a href="/wiki/Dhy%C4%81na_in_Hinduism" title="Dhyāna in Hinduism">Dhyāna</a></li> <li><a href="/wiki/Hindu_pilgrimage_sites_in_India" title="Hindu pilgrimage sites in India">Tirthatana</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/Sanskara_(rite_of_passage)" title="Sanskara (rite of passage)">Sanskaras</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Garbhadhana" title="Garbhadhana">Garbhadhana</a></li> <li><a href="/wiki/Pumsavana" title="Pumsavana">Pumsavana</a></li> <li><a href="/wiki/Pumsavana_Simantonayana" title="Pumsavana Simantonayana">Simantonayana</a></li> <li><a href="/wiki/Jatakarma" title="Jatakarma">Jatakarma</a></li> <li><a href="/wiki/N%C4%81makara%E1%B9%87a" title="Nāmakaraṇa">Namakarana</a></li> <li><a href="/wiki/Nishkramana" title="Nishkramana">Nishkramana</a></li> <li><a href="/wiki/Annaprashana" title="Annaprashana">Annaprashana</a></li> <li><a href="/wiki/Chudakarana" title="Chudakarana">Chudakarana</a></li> <li><a href="/wiki/Karnavedha" title="Karnavedha">Karnavedha</a></li> <li><a href="/wiki/Vidy%C4%81ra%E1%B9%83bha%E1%B9%83" title="Vidyāraṃbhaṃ">Vidyarambha</a></li> <li><a href="/wiki/Upanayana" title="Upanayana">Upanayana</a></li> <li><a href="/wiki/Keshanta" title="Keshanta">Keshanta</a></li> <li><a href="/wiki/Ritu_Kala_Samskaram" title="Ritu Kala Samskaram">Ritushuddhi</a></li> <li><a href="/wiki/Samavartanam" title="Samavartanam">Samavartanam</a></li> <li><a href="/wiki/Vivaah" class="mw-redirect" title="Vivaah">Vivaha</a></li> <li><a href="/wiki/Antyesti" title="Antyesti">Antyeshti</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;">Varnashrama</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Varna_(Hinduism)" title="Varna (Hinduism)">Varna</a> <ul><li><a href="/wiki/Brahmin" title="Brahmin">Brahmin</a></li> <li><a href="/wiki/Kshatriya" title="Kshatriya">Kshatriya</a></li> <li><a href="/wiki/Vaishya" title="Vaishya">Vaishya</a></li> <li><a href="/wiki/Shudra" title="Shudra">Shudra</a></li></ul></li> <li><a href="/wiki/Ashrama_(stage)" title="Ashrama (stage)">Ashrama</a> <ul><li><a href="/wiki/Brahmacarya" title="Brahmacarya">Brahmacharya</a></li> <li><a href="/wiki/Grihastha" title="Grihastha">Grihastha</a></li> <li><a href="/wiki/Vanaprastha" title="Vanaprastha">Vanaprastha</a></li> <li><a href="/wiki/Sannyasa" title="Sannyasa">Sannyasa</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;"><a href="/wiki/List_of_Hindu_festivals" title="List of Hindu festivals">Festivals</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Diwali" title="Diwali">Diwali</a></li> <li><a href="/wiki/Holi" title="Holi">Holi</a></li> <li><a href="/wiki/Maha_Shivaratri" title="Maha Shivaratri">Shivaratri</a></li> <li><a href="/wiki/Raksha_Bandhan" title="Raksha Bandhan">Raksha Bandhan</a></li> <li><a href="/wiki/Navaratri" title="Navaratri">Navaratri</a> <ul><li><a href="/wiki/Durga_Puja" title="Durga Puja">Durga Puja</a></li> <li><a href="/wiki/Ramlila" title="Ramlila">Ramlila</a></li> <li><a href="/wiki/Vijayadashami" title="Vijayadashami">Vijayadashami</a></li></ul></li> <li><a href="/wiki/Ganesh_Chaturthi" title="Ganesh Chaturthi">Ganesh Chaturthi</a></li> <li><a href="/wiki/Rama_Navami" title="Rama Navami">Rama Navami</a></li> <li><a href="/wiki/Krishna_Janmashtami" title="Krishna Janmashtami">Janmashtami</a></li> <li><a href="/wiki/Onam" title="Onam">Onam</a></li> <li><a href="/wiki/Pongal_(festival)" title="Pongal (festival)">Pongal</a></li> <li><a href="/wiki/Makar_Sankranti" title="Makar Sankranti">Makar Sankranti</a></li> <li>New Year <ul><li><a href="/wiki/Bihu" title="Bihu">Bihu</a></li> <li><a href="/wiki/Gudi_Padwa" title="Gudi Padwa">Gudi Padwa</a></li> <li><a href="/wiki/Pahela_Baishakh" title="Pahela Baishakh">Pahela Baishakh</a></li> <li><a href="/wiki/Puthandu" title="Puthandu">Puthandu</a></li> <li><a href="/wiki/Vaisakhi" title="Vaisakhi">Vaisakhi</a></li> <li><a href="/wiki/Vishu" title="Vishu">Vishu</a></li> <li><a href="/wiki/Ugadi" title="Ugadi">Ugadi</a></li></ul></li> <li><a href="/wiki/Kumbh_Mela" title="Kumbh Mela">Kumbh Mela</a> <ul><li><a href="/wiki/Haridwar_Kumbh_Mela" title="Haridwar Kumbh Mela">Haridwar</a></li> <li><a href="/wiki/Nashik-Trimbakeshwar_Simhastha" title="Nashik-Trimbakeshwar Simhastha">Nashik</a></li> <li><a href="/wiki/Prayag_Kumbh_Mela" title="Prayag Kumbh Mela">Prayag</a></li> <li><a href="/wiki/Ujjain_Simhastha" title="Ujjain Simhastha">Ujjain</a></li></ul></li></ul> <ul><li><a href="/wiki/Ratha_Yatra_(Puri)" title="Ratha Yatra (Puri)">Ratha Yatra</a></li> <li><a href="/wiki/Teej" title="Teej">Teej</a></li> <li><a href="/wiki/Vasant_Panchami" title="Vasant Panchami">Vasant Panchami</a></li> <li><a href="/wiki/Template:Hindu_festivals" title="Template:Hindu festivals">Others</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#FFC569;font-weight:normal;">Other</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Sv%C4%81dhy%C4%81ya" title="Svādhyāya">Svādhyāya</a></li> <li><a href="/wiki/Namaste" title="Namaste">Namaste</a></li> <li><a href="/wiki/Bindi_(decoration)" title="Bindi (decoration)">Bindi</a></li> <li><a href="/wiki/Tilaka" title="Tilaka">Tilaka</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFC569;;width:1%"><a href="/wiki/Portal:Hinduism" title="Portal:Hinduism">Related</a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px;background:transparent;"><div style="padding:0em 0.25em"> <ul><li><a href="/wiki/Hindus" title="Hindus">Hindus</a></li> <li><a href="/wiki/Hindu_denominations" title="Hindu denominations">Denominations</a></li> <li><a href="/wiki/Hindu_law" title="Hindu law">Law</a></li> <li><a href="/wiki/Hindu_calendar" title="Hindu calendar">Calendar</a></li> <li><a href="/wiki/Anti-Hindu_sentiment" title="Anti-Hindu sentiment">Anti-Hindu sentiment</a></li> <li><a href="/wiki/Criticism_of_Hinduism" title="Criticism of Hinduism">Criticism</a></li> <li><a href="/wiki/List_of_Hindu_gurus_and_saints" class="mw-redirect" title="List of Hindu gurus and saints">Hindu gurus and saints</a></li> <li><a href="/wiki/Hindu_studies" title="Hindu studies">Hindu studies</a></li> <li><a href="/wiki/Hindu_iconography" title="Hindu iconography">Iconography</a></li> <li><a href="/wiki/Hindu_mythology" title="Hindu mythology">Mythology</a></li> <li><a href="/wiki/Hindu_nationalism" title="Hindu nationalism">Nationalism</a> <ul><li><a href="/wiki/Hindutva" title="Hindutva">Hindutva</a></li></ul></li> <li><a href="/wiki/Persecution_of_Hindus" title="Persecution of Hindus">Persecution</a></li> <li><a href="/wiki/Hindu_pilgrimage_sites" title="Hindu pilgrimage sites">Pilgrimage sites</a> <ul><li><a href="/wiki/Hindu_pilgrimage_sites_in_India" title="Hindu pilgrimage sites in India">India</a></li></ul></li> <li><a href="/wiki/Glossary_of_Hinduism_terms" title="Glossary of Hinduism terms">Glossary</a></li> 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Whether or not the change was made through a Tor exit node (tor_exit_node)
false
Unix timestamp of change (timestamp)
1621369585
Retrieved from "https://en.wikipedia.org/wiki/Special:AbuseLog/29985944"