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==मन्दिरस्य इतिहासः==
[[भुवनेश्वरः]] [[ओडिशाराज्यम्|ओडिशाराज्यस्य]] राजधानी अस्ति । तस्मिन् उदयगिरिः खण्डगिरिः इति पर्वतप्रदेशे गुहाः सन्ति । अपि च केचन [[जैनमतम्|जैनमतस्य]] गुहाः सन्ति । त्रविद्यमानानि ओडिशीनृत्यस्य चित्राणि उत्कीर्णानि यानि क्रि.पू.दितीशतके रचितानि ।2<sup>nd</sup> एते गुहाः राज्ञः खरवेलस्य सेवायाम् आसन् । एताः शिल्पकालाः एतत् दृढयन्ति यत् इयं ओडिशीनृत्यकला एव देशस्य प्राचिनतमा नृत्यपद्धतिः इति । अपि च [[कोणार्कः|कोनार्कप्रदेशस्य]] [[सूर्यदेवालयः|सूर्यदेवालये]] [[भुवनेश्वरः|भुवनेश्वरस्य]] देवालये च एतादृशाः कलाः दृश्यन्ते । ओडिशाराज्यस्य रत्नगिरिपर्वतप्रान्तेषु कृतोत्खननकाले ओडिशीनृत्यस्य शिल्पकालाः अस्य इतिहासं समर्थयन्ति । हरिपुरेत्यदिषु पुण्यस्थानेषु बह्व्यः योगिन्यः तासां नृत्यशिल्पकाभिः स्मृताः। ओडिशीनृत्यप्रकारः विशेषतः शैवमन्दिरेषु प्रदर्शितः भवति यतः देवः शिवः नर्तकानां गुरुः इति भावः अस्ति । अपि अस्मिन् ब्रह्माण्डे नृत्यस्य अधिदेवः नटराजः इति कथ्यमानः शिवः एव । अतः नृत्यम् अपि देवतार्चनस्य काश्चन विधिः भवति । भुवनेश्वरस्य शैविते मन्दिरे ओडिशीनृत्यस्य असङ्ख्यातानि चित्राणि सन्ति । [[पुरिजन्नाथमन्दिरम्|पुरिजगन्नाथमन्दिरे]] [[कोणार्कसूर्यदेवालयः|कोणार्कसूर्यदेवालये]] च भित्तिषु ओडिशीनृत्यसमूहस्य चित्राणि उत्कीर्णानि सन्ति । एतानि ओडिशायः शैविते मन्दिरेषु अस्याः कलायाः शिक्षा प्रचलति स्म इति प्रमाणयन्ति ।
In the excavated ruins of the Buddhist [[Ratnagiri (Orissa)|Ratnagiri]] hills in [[Orissa]], dating back to the 6<sup>th</sup> thru 9<sup>th</sup> centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the [[Tantra|Tantric]] temples, such as the Hirapur Shrine, many of the [[yogini]]s especially are depicted in poses reminiscent of present day Odissi. When [[Orissa]] became a big centre of worship of Lord [[Shiva]], it is only natural that dance would be used as a form of worship, since Lord [[Shiva]] was a master dancer himself. He is also known as '''[[Nataraja|Nataraj]]''', the Cosmic Lord of Dance. The [[Shaivite]] temples of [[Bhubaneswar]] display innumerable sculptures in postures of Odissi. The [[Vaishnavite]] Temples such as [[Jagannath Temple, Puri|Jagannath Temple]] and [[Konark Sun Temple]] abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the [[Shaivite]] art tradition to the [[Vaishnavite]] art form.
===Manuscript evidence===
Sage Bharata's ''[[Natya Shastra]]'', written in 2<sup>nd</sup> century CE, speaks of four types of '''Pravrittis''' (local usages): ''Avanti, Dakshinatya, Panchali'', and ''Odra Magadhi'', and the areas where each type is employed. Some scholars have interpreted that ''Odra Magadhi'' is "the earliest literary reference" to Odissi.
''Abhinaya Chandrika'' written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in ''NãtyaShãstra''.
The illustrated manuscript ''Shilpaprakãsha'' deals with Oriya architecture and sculpture as well as the figures of dance. In this, one finds a elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the ''Alasa Kanyas'' are carved in the temple. The illustrations of ''Shilpaprakãsha'' reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the ''Kalpasutra'' and ''Kalkacharya Kathãs'' show traces of Oriya dance style although they were being executed in [[Gujarat]]. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the ''Devasanpada Kalpasutra'' (1501, [[Jamnagar]]), there is depiction of the ''Samapada'', the ''Tribhangi'' and the ''Chuaka''.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to [[Puri]] from [[Gujarat]] and [[Andhra]].
===Mughal and British period===
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage in respect to the king and ceased to be respected solely as servants to Lord [[Jagannath]]. Although the British have helped India in several ways, a decline and degradation occurred in all the Indian Classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their well-deserved place in society, were forced to prostitution to survive in the changing climate of political and cultural oppression of the British.
==Tradition and dancers==
[[File:Alasa konark.jpg|thumb|Odissi pose at [[Konark Sun Temple]]]]
==परम्परा नर्तकाः च==
The Odissi tradition existed in three schools: ''Mahari, Nartaki'', and ''Gotipua''.
ओडिशीनृत्यपरम्परा माहिरिः नर्तकी गोटिपुरं च इति शालासु अस्तित्वं रक्षति ।
* पुर्याः जगन्नाथमन्दिरस्य देवदास्यः '''महारी ''' नाम्ना आहूयन्ते । अयं शब्दः महा नारी इति पदयोः सांक्षेपः । पूर्वं महार्यः(देवदास्यः)एतेषु मन्दिरेषुअ मन्त्रान् श्लोकान् च अबलम्ब्य नृत्तम् अभिनयं च कुर्वन्ति स्म । क्रमेण एताः महर्यः
* '''Maharis''' were Oriya [[devadasi]]s or temple girls, their name deriving from ''Maha'' (great) and ''Nari'' or ''Mahri'' (chosen) particularly those at the temple of [[Jagganath]] at [[Puri]]. Early Maharis performed mainly '''Nritta''' (pure dance) and '''[[Abhinaya]]''' (interpretation of poetry) based on '''[[Mantra]]s''' and '''[[Sloka]]s'''. Later, Maharis especially performed dance sequences based on the lyrics of [[Jayadev|Jayadev's]] ''[[Gita Govinda]]''. ''Bhitari Gauni Maharis'' were allowed in the inner temple while ''Bahari Gauni Maharis'', though in the temples, were excluded from the ''sanctum sanctorum.''
* By the 6<sup>th</sup> century, the '''Gotipua''' tradition was emerging. One of the reasons given for the emergence of Gotipuas is that [[Vaishnavism|Vaishnavas]] did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, [[Vaishnavism|Vaishnava]] poets composed innumerable lyrics in [[Oriya language|Oriya]] dedicated to [[Radha]] and [[Krishna]]. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
;Moksha: The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.
==Odissi terminology==
[[image:Sharmila Biswas, Odissi dancer.jpg|thumb|right|Sharmila Biswas performing Odissi in a dance festival in Kerala]]
;Alap: It is the opening section of a typical Indian classical performance. It is unmetered, improvised (within the [[raga]]) and unaccompanied (except for the drone of the [[Tanpura]]), and is started at a slow tempo.
;Anadha: Hide category of the 4 musical divisions, e.g. Mardala or [[Pakhavaj|Pakhawaj]] (Drum), [[Tabla]], and [[Mridangam]].
;Asanjukta Dhvanis: Sound created by striking the Mardala or [[Pakhavaj|Pakhawaj]] (Drum) with one hand.
;Avartan(a): One complete cycle of a taal.
;Bani: Odissi term used to describe the spoken drum neumonics. During dance performances Bani are spoken by the percussionist or the guru.
;Bhaga: In taal, this would be the groups the taal is divided into. Also the points on which the tali, or khali would be. e.g., Adital (Odissi) is divided into 4 groups of 4 beats. It is said that Adital has 4 Bhago. These are the measures. Odissi music term.
;Bhajan: It is any type of Indian devotional song. It has no fixed form: it may be as simple as a ''[[Mantra]]'' or ''[[Kirtan]]'' or as sophisticated as the ''[[Dhrupad]]'' or ''[[Kriti]]'' with music based on classical ''[[Raga]]s'' and ''[[Tala (music)|Talas]]''. It is normally lyrical, expressing love for the Divine.
;Chanda: In tal, this would be how the divisions of the tal are divided. e.g., in Adital (Odissi), the sixteen beats are divided into 4 groups of 4. So the Chanda for Adital is 4 + 4 + 4 + 4. This describes what the Bhagas are.
;Devadasis: They were the original temple dancers who were "Servitress of God". They were dedicated to a deity or a temple. Apart from taking care of the temple and performing various rituals, these women learned and practiced Odissi dance, for dance and music were an essential part of temple worship. They enjoyed a high social status.
;[[Gita Govinda]]: [[Jayadeva|Poet Jayadev's]] famous work depicting the relationship of [[Radha]], [[Krishna]] and [[Gopi]]s in [[Vrindavan]]. Themes from this work have a great significance towards the classical arts of [[India]].
;Goti: These are barrel-shaped tension pegs made of wood which adorn the Mardala or [[Pakhavaj|Pakhawaj]] (Drum). The straps ('''Pitha''') connecting the two apertures of the Mardala run over them. These pegs can be moved to either increase or decrease the tension of the leather membranes covering the two apertures of the Mardala and are useful in tuning it.
;Gotipua: Young boys trained in the fine art of Odissi dance. The Gotipuas were allowed to leave the temple and dance for the public. The current form of Odissi is heavily influenced by the Gotipua tradition (and also the temple carvings from Orissa.)
;Khanda Ukutta: When bani and ukuttas are formed together to make phrases. e.g., Kititaka gadigana. Odissi term.
;Mana: The ending sequence that is repeated to designate that the ending of the piece or of a section. Typically in 3 repeats. Odissi term. People in Orissa inter change Tihai and Mano. But they mean the same.
;Maharis or Devadasis: The original temple dancers of Orissa, but now extinct. This is the root of Odissi dance that was later taught to young boys, Gotipuas. The style is now modernized and work is being done to preserve it.<ref>http://www.mardala.com/theory/terms/</ref>
==Odissi music==
The jewelry is made from intricate filigree silver jewelry pieces. [[Filigree]], in French, means “thin wire,” and in Oriya it is called '''Tarakasi'''. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Orissa.<ref>http://www.odissivilas.org/costumes.htm</ref> The jewelry pieces themselves are an important part of the Odissi dancer’s costume. They are the '''[[tikka]]''' (forehead ornament), '''allaka''' (head piece on which the tikka hangs), unique ear covers in intricate shapes, usually depicting a peacock’s feathers, with '''jimkis''' (bell shaped earrings) hanging from them, two necklaces- a smaller necklace worn close to the neck and a longer necklace with a hanging pendant, and two sets of bangles worn on the upper arm and wrist. The process of creating each piece takes the collaboration of many artisans each specialized in one step of the many that turns a lump of raw silver into a handcrafted work of art.
===Head piece===
The crown or '''''Mukoot''''' or '''''Mookut''''', worn by the Odissi dancer is made only in the devotional city of [[Puri]] in Eastern Orissa. It is formed from the dried reeds called '''''Sola''''' in a tradition called '''''Sola Kama'''''. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and [[Kadamba tree|Kadamba]] (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The '''Mukoot''' consists of two parts i.e. '''''Ghoba''''' and '''''Tahiya'''''. The flower decorated back piece, called the '''''Ghoba''''', sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the [[Lotus Flower|Lotus]] flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the '''''Tahiya''''', and this represents the temple spire of Lord [[Jagannath]] or the [[flute]] of Lord [[Krishna]].
The [[Saree]] worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. This [[Saree]] features traditional prints of [[Orissa]] and shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Generally [[Sambalpuri Saree]] is being used in Odissi dance more than any other type of Sarees. The makeup of an Odissi dancer includes [[Bindi (decoration)|Bindi]] (red dot), applied on the forehead with a pattern made from sandalwood around it, [[Kajal]] (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
==Odissi gurus and performers==
Some of the upcoming Odissi performers in alphabetic order are Aadya Kaktikar, Arushi Mudgal, Ayona Bhaduri, Bani Ray, Bijay Sahoo, [[Devraj Patnaik]], [[Ellora Patnaik]], [http://www.kaustavisarkar.net Kaustavi Sarkar], Kavita Dwivedi, Lingaraj Pradhan, Madhusmita Mohanty, [[Masako Ono]], Niharika Mohanty, Pabitra Kumar Pradhan, [http://www.puspitamishra.com Puspita Mishra], [http://www.jagannatha.net/rahul.html Rahul Acharya], Rajashree Chintak Behera, Rajashri Praharaj, Rajika Puri, Ramesh Chandra Jena, Rekha Tandon, Sandhyadipa Kar, [http://www.saswatjoshi.com Saswat Joshi], Saswati Garai-Ghosh, Shibani Patnaik, [http://www.shipramehrotra.com/ Shipra Avantica Mehrotra], Shreelina Ghosh, Sonali Mishra, Sreyashi Dey, Vishnu Tattwa Das, Yudhistir Nayak and several others around the world.
==Odissi in Guinness World Records==
[[File:GWR attempt for largest Odissi Dance.jpg|thumb|[[Guinness World Records]] - Participation certificate in the largest Odissi dance event]]
[[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 in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the ''Mangalacharan, Battu, Pallavi, Abhinay'' and ''Mokshya'' dance items from the Odissi repertoire. <ref>[http://www.aajkikhabar.com/en/news/689714/689714.html aajkikhabar.com: Odissi dancers pierce in the Guinness World Records]</ref><ref>[http://expressbuzz.com/states/orissa/odissi-dancers-enter-guinness/356516.html expressbuzz.com: Odissi dancers enter Guinness]</ref><ref>[http://www.welcomeorissa.com/Odissi+dancers+enter+Guinness-orissa_news-35571-26-01-2012.html welcomeorissa.com: Odissi dancers enter Guinness]</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>
==Odissi in Popular Culture==
===In India===
1993: Dressed in a resplendent orange ''sanyasin'' dhoti (probably inspired by the Mayurbhanj Chau costume worn in Shiva [[Tandava]] items), renowned [[bollywood]] actress [[Meenakshi Sheshadri]] danced a '''[[tandava]]''' item, composed chiefly in Odissi, in the film [[Damini – Lightning]].
1996: Renowned [[bollywood]] actress [[Rekha]] was seen imparting Odissi dance lessons (''Shikhandika pose'') to a group of young learners, while [[Indira Varma]] was shown learning Odissi steps to the accompaniment of the '''''mardala''''' in [[Mira Nair|Mira Nair's]] magnum opus film [[Kama Sutra: A Tale of Love]].
2003: Renowned [[bollywood]] actress [[Rani Mukherjee]] performed a dance at the [[International Indian Film Academy Awards]] function dressed in Odissi costume and a number of celebrated Odissi gurus and performers expressed their disapproval for insulting the integrity of the dance and the costume.<ref>{{cite news| url=http://timesofindia.indiatimes.com/city/kolkata-/Rani-on-wrong-foot-over-Odissi-number/articleshow/47200979.cms | work=The Times Of India | title=Rani on wrong foot over Odissi number | date=23 May 2003}}</ref>
2007: An entire sequence of dance in Odissi costume was featured near the end of the [[bollywood]] movie [[Bhool Bhulaiyaa]] and was performed by [[bollywood]] actress [[Vidya Balan]] and Malayalam actor [[Vineeth]].
2009: [[Bollywood]] actress [[Shilpa Shetty]], who took Odissi lessons for an India-China joint film venture, [[The Desire]] loosely based on the life of Odissi dancer [[Protima Bedi|Protima Gauri Bedi]].
===भारतात् बहिः===
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