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(लघु) ओडिसी इत्येतद् ओडिशी इत्येतत् प्रति चालितम्।: परिष्कारः
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पङ्क्तिः १:
[[File:Nandini Ghosal 2.jpg|thumb|'''ओडिश्शीनृत्यभङ्गी''']]
'''ओडिशी'''[[भारतम्|भारतस्य]] काचित् शास्त्रीयनृत्यस्य पद्धतिः अस्ति । अस्य नृत्यस्य ओरिस्सी, उडिसी, ओडिसी इत्यपि भिन्नभिन्नेषु प्रान्तेषु व्यवहारः अस्ति । ({{lang [[ओरियाभाषा]] -or| ଓଡ଼ିଶୀ}} , [[English]]:''Oṛiśī'') पुरातत्त्वशास्त्रानुसारम् इयं नृत्यपरम्परा भारतस्य प्राचीनतमा नृत्यपद्धतिः अस्ति । <ref>http://www.dancesofindia.co.in/classic-dances-india/odissi.html</ref><ref>http://odissi.itgo.com/</ref>
[[File:Sujata1.jpg|thumb|An Odissi exponent]]
अस्य नृत्यस्य त्रिभङ्ग्याः कारणेण भारतस्य अन्यनाट्यप्रकारात् भिन्ना इति ओडिशीनृत्यपद्धतिः इति वदन्ति । मस्तकस्य उरसः वस्तिप्रदेशस्य पृथक् चलनं भवति इति कारणेन अस्य त्रिभङ्गी इति नाम आगतम् ।<ref>[http://chandrakantha.com/articles/indian_music/nritya/odissi.html Article by David Courtney retrieved July 2008]</ref><ref name="hi">{{cite book|last=Sehgal|first=Sunil |title=Encyclopaedia of Hinduism: (H - Q).|url=http://books.google.co.in/books?id=wNQ82_yYeK8C&pg=PA868&dq=Tribhanga&ct=result#v=onepage&q=Tribhanga&f=false|year=1999|publisher=Sarup & Sons|isbn=8176250643|page=868}}</ref>
पङ्क्तिः १४:
==परम्परा नर्तकाः च==
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 [[जयदेवः|जयदेवस्य]] [[गीतगोविनम्|गीतगोविन्दम्]] अवलम्ब्य नृत्यानि प्रदर्शयन्ति स्म ।
* '''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.''
'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.
* '''Nartaki''' dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.<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>
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