Odissi

Odissi (Odia: ଓଡ଼ି ଶୀ), also referred to as Orissi in old literature, is

a major ancient Indian classical dance that originated in the temples Odissi
of Odisha – an eastern coastal state of India.[1][2][3] Odissi, in its
history, was performed predominantly by women,[1][4] and
expressed religious stories and spiritual ideas, particularly of
Vaishnavism through songs written and composed according to the
ragas & talas of Odissi music by ancient poets of the state. Odissi
performances have also expressed ideas of other traditions such as
those related to Hindu Gods Shiva and Surya, as well as Hindu
Goddesses (Shaktism).[5]

The theoretical foundations of Odissi trace to the ancient Sanskrit

text Natya Shastra, its existence in antiquity evidenced by the
dance poses in the sculptures of Kalingan temples,[1][6] and
archeological sites related to Hinduism, Buddhism and
Jainism.[7][8][9] It was suppressed under the British Rule.[10][11]
The suppression was protested by the Indians, followed by its
revival, reconstruction and expansion since India gained
independence from the colonial rule.[8]

Odissi is traditionally a dance-drama genre of performance art,

Odissi classical dance
where the artist(s) and musicians play out a story, a spiritual
message or devotional poem from the Hindu texts, using symbolic Native ଓଡ଼ି ଶୀ (Odia)
costumes, [12] body movement, abhinaya (expressions) and name
mudras (gestures and sign language) set out in ancient Sanskrit Genre Indian classical
literature.[13] Classical Odia literature & the Gita Govinda set to dance
traditional Odissi music are used for the abhinaya. Odissi is learnt
and performed as a composite of basic dance motif called the Origin Odisha, India
Bhangas (symmetric body bends, stance). It involves lower
(footwork), mid (torso) and upper (hand and head) body as three sources of perfecting expression (https://o
nlinebharatanatyam.com/2010/06/25/eye-movements-or-drishthi-bheda/) and audience engagement with
geometric symmetry and rhythmic musical resonance.[14][15] An Odissi performance repertoire includes
invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and moksha (dance climax
connoting salvation of the soul and spiritual release).[16][17]

Traditional Odissi exists in two major styles, the first perfected by women and focussed on solemn, spiritual
temple dance (maharis); the second perfected by boys dressed as girls (gotipuas)[18] which diversified to
include athletic and acrobatic moves, and were performed from festive occasions in temples to general
folksy entertainment.[6] Modern Odissi productions by Indian artists have presented a diverse range of
experimental ideas, culture fusion, themes and plays.[19]
Odissi was the only Indian dance form present in Michael Jackson's 1991 hit single Black or White.

History
The foundations of Odissi are found in Natya Shastra, the ancient Hindu Sanskrit text of performance
arts.[20][21] The basic dance units described in Natyashastra, all 108 of them, are identical to those in
Odissi.[21]Natya Shastra is attributed to the ancient scholar Bharata Muni, and its first complete compilation
is dated to between 200 BCE and 200 CE,[22][23] but estimates vary between 500 BCE and 500 CE.[24]
The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36
chapters.[22][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.[22][26] Dance and performance arts, states this ancient text,[27] are a form of
expression of spiritual ideas, virtues and the essence of scriptures.[28] The Natya Shastra refers to four
pravrittis (methods of expressive delivery) in vogue – Avanti, Dakshinatya, Panchali and Odra-Magadhi ;
of these, the Odra refers to Odisha.[29]

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 and Puri.[21][30] The
Manchapuri cave in Udayagiri shows carvings of dance and musicians, and this has been dated to the time
of Jain king Kharavela in the first or second century BCE. The Hathigumpha inscriptions, also dated to the
same ruler, mention music and dance :[29][31]

(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)...

— Hathigumpha inscription, Line 5, ~ 2nd–1st century BCE[32][33]

The classical music tradition of Odisha, known as Odissi music, 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.[34][35]

Medieval era

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 Heruka, Vajravarahi, and
Marichi in Odissi-like postures.[36][37] Historical evidence, states Alexandra Carter, shows that Odissi
Maharis (Hindu temple dancers) and dance halls architecture (nata-mandapa) were in vogue at least by the
9th century CE.[38]

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 Chauka of Odissi.
This, states Vatsyayan, suggests that Odissi 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.[39] 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.[40] It includes
illustrations of the karanas mentioned in Natya Shastra.[41] Similarly,
the illustrated Hindu text on temple architecture from Odisha, the
Shilpa Prakasha, deals with Odia architecture and sculpture, and
includes Odissi postures.[42]

Actual sculptures that have survived into the

modern era and panel reliefs in Odia temples,
dated to be from the 10th to 14th century, show
Odissi dance. This is evidenced in Jagannatha
temple in Puri, as well as other temples of
Vaishnavism, Shaivism, Shaktism and Vedic
deities such as Surya (Sun) in Odisha.[5] There Odissi dancer
are several sculptures of dancers and musicians
in Konark Sun Temple and Brahmeswara
Musician and Temple in Bhubaneswar.[1][6]
dancer relief at the
Konark Sun The composition of the poetic texts by 8th century Shankaracharya and particularly
temple. of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus
and growth of modern Odissi.[43] Odissi 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.[5][43]

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.[11] The official records of
Sultan Firuz Shah Tughlaq's invasion in Odisha (1360–1361 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.[44] This led to a broad decline in Odissi and other religious arts, but there were some benevolent
rulers in this period who supported arts particularly through performances at courts.[11] During the
Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and
courts.[45] They became associated with concubinage to the nobility.

The Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King
Ramachandradeva's patronage.[46] This expansion integrated martial arts (akhanda) and athletics into
Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the
military and to resist foreign invasions.[46] According to Ragini Devi, historical evidence suggests that the
Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khordha.[47]

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 Odissi and other
Hindu temple dance arts.[11][48][49] 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".[50]

Christian missionaries launched the "anti-dance movement" in

1892, to ban all such dance forms.[48] The dancers were frequently
stigmatized as prostitutes by Europeans during the colonial
era.[51][52] In 1910, the British colonial government in India banned
temple dancing,[53] and the dance artists were reduced to abject
poverty from the lack of any financial support for performance arts,
combined with stereotyping stigma.[46]

Post-independence
A male Odissi dancer
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 Odissi.[48][49][50] 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.[54]

Odissi, 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
Oriya poet, dramatist and researcher. Pattanayak is also credited
with naming the dance form as "Odissi".[11][55]

Repertoire
Utkal Dibas 2022
Odissi, in the classical and medieval period has been, a team dance
founded on Hindu texts.[6] 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.[56] The Odissi performing Maharis combined pure dance with
expression, to play out and communicate the underlying text through abhinaya (gestures).[56][57] 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.[6][46] In the Indian
tradition, many of the accomplished gotipuas became the gurus (teachers) in their adulthood.[46] 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.[46][58] 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".[59] 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.[60] 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".[46]

The traditional Odissi repertoire, like all classical Indian dances,

includes Nritta (pure dance, solo), Nritya (dance with emotions,
solo) and Natya (dramatic dance, group).[61][62] 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.[61][62]

The Nritta performance is abstract, fast and rhythmic

aspect of the dance.[63][62] 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 An Odissi dancer in nritya
telling of story. It is a technical performance, and aims to (expressive) stage of the dance.
engage the senses (prakriti) of the audience. [64]

The Nritya is slower and expressive aspect of the dance

that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu
dance traditions.[63][62] 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.[64]
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.[61][62]
The Mokshya is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and
serenity in the spiritual.[17]

Odissi dance recitals are in Odia and Sanskrit language in the music strictly follows ragas & talas of the
Odissi music tradition.[61] The talas used in Odissi dance are Ekatali, Khemata, Rupaka, Tripata, Jhampa,
Jati Tala, Adatali, Matha, Aditala, Sarimana, Kuduka and others.

Sequence

Traditional Odissi repertoire sequence starts with an invocation called Mangalacharana.[16] 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.[16] Mangalacharana is followed by Pushpanjali (offering of flowers)
and Bhumi Pranam (salutation to mother earth).[16] 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).[65]

The next sequential step in an Odissi performance is Batu, also known as Battu Nrutya or Sthayee Nrutya
or Batuka Bhairava.[16][66] 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.[16][66]

The nritya follows next, and consists of Abhinaya, or an

expressional dance which is an enactment of a song or
poetry.[16][66] The dancer(s) communicate the story in a sign
language, using mudras (hand gestures), bhavas (enacting mood,
emotions), eye and body movement.[67] The dance is fluid, graceful Odissi Dance Drama
and sensual. Abhinaya in Odissi is performed to verses recited in
Sanskrit or Odia language.[68] Most common are Abhinayas on
Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten
incarnations of Lord Vishnu) or Ardhanari Stotram (half man, half woman form of the divine). Many
regionally performed Abhinaya compositions are based on the Radha-Krishna theme.[43] The Astapadis of
the Radha-Krishna love poem Gita Govinda written by Jayadeva are usually performed in Odisha, as part
of the dance repertoire.[16][69]

The natya part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary
dramas are chosen as themes.[70]

A distinctive part of the Odissi tradition is the inclusion of Moksha (or Mokshya[17]) finale in the
performance sequence. This the concluding item of a recital.[16] 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.[17] Movement and pose merge in a fast pace pure
dance climax.[16]

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.[41] Motion is uthas (rising or up), baithas (sitting or
down) or sthankas (standing).[41] 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
Odissi mudra murals in
confused pace suggests dejection. For aesthetics, movement is
Bhubaneswar
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.[41] 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.[41]

The three primary dance positions in Odissi are:[16]

Chouka – the square position, with weight equally placed on the two legs in a squatting
position, spine straight, arms raised up with elbows bent.[71]
Abhanga – the body weight shifts to one foot, while the feet and knees are kept forward in a
standing position, one hip extending sideways and torso deflected away from supporting
leg.[71]
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.[16]

Mudras or Hastas are hand gestures which are used to express the
meaning of a given act.[72] 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.[41][72] These
are subdivided into three, according to the traditional texts:[72]

Asamyukta Hasta – Single hand Mudras – 28 Prakar

(gestures, for instance to communicate a salute, prayer,
embrace, energy, bond, swing, carriage, shell, arrow, Odissi pose at Konark Sun Temple
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.[72]

Costumes

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).[73] It is worn with pleats, or
may have a pleat tailor stitched in front, to allow maximum
flexibility during the footwork.[74] These sarees have traditional
prints of Odisha with regional designs and embellishments, and
may be the Sambalpuri saree and Bomkai saree.

The jewellery includes silver pieces, a metal favored in regional The Odissi costume
tradition.[75] The hair is tied up, and typically drawn into an
elaborate bun resembling a Hindu temple spire, and decorated with
seenthi.[74][76] The hairstyle may contain a moon shaped crest of white flowers,[74] or a reed crown called
mukoot with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with 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).[77]

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).[77] 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).[75] The dancer's palms
and soles may be painted with red coloured dye called the alta.[77]
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.[74]

Music and instruments

Odissi dance is accompanied by the traditional classical music of

the state of Odisha, Odissi music. The primary Odissi ragas are
Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri,
Karnata, Bhairavee and Shokabaradi.[78]

Odissi dance, states Ragini Devi, is a form of "visualized music",

wherein the Ragas and Raginis, respectively the primary and
secondary musical modes, are integrated by the musicians and
interpreted through the dancer.[79] Each note is a means, has a
purpose and with a mood in classical Indian music, which Odissi Make-up artist at work before a
accompanies to express sentiments in a song through Parija.[79] dance performance
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.[79]

Like most Indian dance forms, an Odissi troupe performs with the accompaniment of a musical ensemble.
The mini-orchestra consists of a number of instruments, often varying slightly by region; the ubiquitous
tanpura[80] is used for a consistent, droning ambience throughout, with either the mardala (a barrel drum
variant of the pakhawaj),[80] tabla or mridangam for percussion. Melodic instruments range from the
harmonium, bansuri (bamboo flute) or sarangi to the sitar and violin.[80] Additionally, manjira (finger
cymbals) or other small, percussive instruments may be used.[80][16] At times, vocalists may be featured,
usually singing simple, rhythmic phrases and melodies with dancing specifically choreographed to match.

Styles

The Odissi tradition existed in three schools: Mahari, Nartaki, and

Gotipua:

Maharis were Oriya devadasis or temple girls, their name

deriving from Maha (great) and Nari (girl), or Mahri
(chosen) particularly those at the temple of Jagganath at
Odissi group performance
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.[81] Later, Maharis especially performed dance sequences
based on the lyrics of Jayadev's Gita Govinda.[81] This style is more sensuous and closer to
the classical Sanskrit texts on dance, music and performance arts.[81]
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.[81]
 Nartaki dance took place in the royal courts, where it was prevalent before the British
period.[82][83]

Schools, training and recognition

Odissi maestros and performers

Kelucharan Mohapatra, 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
The performer is in an Odissi Dance
disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal
Abhinaya, based on the popular
Mansingh, were known for their performances in India and abroad.
Indian epic-Ramayan
Some other notable disciples include, Debi Basu, Jhelum Paranjape,
Shubhada Varadkar and Daksha Mashruwala. 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.[84] 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.[85]

Schools

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.[86][87][88]

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,
Guinness World Records Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.[89][90]
on the largest Odissi
dance event. More than 1000 Odissi dancers performed at the World Cultural
Festival[91][92] 12 March 2016. This is till date the largest congregation of
Odissi dancers in a single event.

Odissi Centre at Oxford University

An Odissi dance centre has been opened from January 2016, at the University of Oxford.[93] 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.[94]
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.[95][96]

See also
Indian classical dance
Ghungroo Baisali Mohanty announcing
Odissi music the Oxford Odissi Centre.
Gotipua

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External links
Odissi solo performance: Nitisha Nanda (https://www.youtube.com/watch?v=X69dOnl_zKw),
Arabhi Pallav, New Delhi 2013
Odissi group dance: Megh Pallavi (https://www.youtube.com/watch?v=qRl3Jdxn1ZQ),
Vancouver 2014
Maryam Shakiba – Odissi Dance – Manglacharan Ganesh Vandana (https://www.youtube.c
om/watch?v=52bscmW8x80) Pushkar 2014
Odissi links (http://www.dmoz.org/Arts/Performing_Arts/Dance/Classical_Indian/Odissi/) at
the Open Directory
Odissi schools (http://www.narthaki.com/odissi/odidivi.htm), Classical Indian Dance Portal
The annotated Odissi Dance Archive on Pad.ma (https://pad.ma/grid/title/project==Odissi_Ar
chive)
History of Odissi and Geeta Govinda (https://web.archive.org/web/20090410060341/http://ori
ssagov.nic.in/e-magazine/Orissareview/2008/May-2008/engpdf/The_Story17-19.pdf) JN
Dhar, Orissa Review
Bharat Bhavan (https://web.archive.org/web/20060505124201/http://www.bharatbhavankera
la.org/oddissi.htm), a Kerala-based Department of Culture information website.

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