My first encounter with Odissi dancers is etched in my memory as an unforgettable experience. While exploring Eastern India with the Southern Asian Art Council, we requested a visit to a local dance school. Though not on our planned itinerary, our presence in Bhubaneswar, the capital of Odisha and the heart of classical Odissi, presented a unique opportunity. Little did we anticipate the extraordinary event that awaited us. We were welcomed into a modest dwelling that served as the Rudrakshya Dance Institute. There, in a room corner crowded with everyday furniture, we found ourselves mere inches away from artists immersed in their practice for a state competition that very evening.
The female dancers made their entrance with a captivating grace, gliding into the space embodying the tribhangi posture, a hallmark of Odissi dance. This unique stance allows for fluid, independent movement of the head, chest, and pelvis, creating a lyrical elegance. Soon after, male dancers joined, their movements characterized by lithe agility and powerful, precise footwork. The contrasting yet harmonious interplay between the male and female forms was simply breathtaking. Their bodies seemed to ripple with controlled intensity, their eyes flashing with profound expression. We were so close we could witness the beads of perspiration tracing their skin. From a nearby alcove, the rhythmic beats of the punkawaj drum and the melodic strains of the veena stringed instrument filled the air. The energy in the room was palpable, almost overwhelming. Completely captivated by the music and dance, our spirits were truly uplifted.
When the Rudrakshya Dance Institute brings its performance, “Yoga in Dance,” to LACMA, audiences can anticipate the same deeply spiritual experience. Odissi dance, much like yoga, is rooted in Hindu philosophy and aims for moksha, or spiritual liberation. The rigorous training in classical dance, similar to the dedicated practice of yoga, is a form of intense sadhana—spiritual discipline—requiring complete physical and mental focus. The “Yoga in Dance” program intricately weaves together demonstrations of hatha and raja yoga, showcasing mastery of the physical body and profound mental concentration, all within the expressive art of Odissi.
Odissi, recognized as one of the eight classical dance forms of India, boasts ancient origins deeply intertwined with Hindu traditions. Archaeological evidence dating back to the 2nd century B.C. in Udaygiri, Odisha, reveals relief sculptures depicting dancers accompanied by orchestras, adorning the walls of the Rani-Gumpha Sanskrit theater. The Natyashastra, a comprehensive treatise on performing arts from two thousand years ago, further confirms Odissi’s antiquity by referencing the dance of Ordhra Magadha, the ancient name for modern-day Odisha. This historical context firmly establishes Odissi as a significant and enduring form of Hindu artistic expression.
Temples have historically served as the epicenter for arts in India, and Odisha is no exception. From early times, dance was integral to worship in Buddhist, Jain, and Hindu shrines throughout the region. The walls of these sacred spaces were often embellished with sculptures depicting various dance poses, reflecting the importance of dance in religious life. When the magnificent Puri temple dedicated to Lord Jagannatha (a revered form of Krishna in Hinduism) was erected in the 11th century, dance was formally incorporated into the elaborate rituals of temple worship. This institutionalization solidified Odissi’s place within Hindu religious practice.
Female dancers, known as maharis (meaning “great chosen ones”), held a particularly sacred role. They were ritually married to Lord Jagannatha and dedicated their lives to serving the deity within the temple. Highly skilled in both dance and music, these maharis performed narratives of Krishna for Lord Jagannatha, their art form becoming an integral part of daily worship and a powerful expression of Hindu devotion.
Outside the temple walls, a parallel tradition of male dancers, the gotipuas (meaning “single boys”), emerged. These young boys, typically between the ages of 5 and 17, dressed as females and carried devotional poetry and dance beyond the temple precinct, especially at a time when women were restricted from public performance. Their repertoire included not only graceful dance but also astonishing feats of acrobatics and yogic postures, showcasing a unique blend of physical prowess and artistic expression. Gotipuas were renowned for their physical abilities, so much so that when Puri faced the threat of invasion, King Ramachandradeva assigned a whole street near the temple to them, designating them as protectors of Lord Jagannath. The king also established gymnasiums throughout the town to serve as training centers for these young boys, emphasizing both physical conditioning and the art of dance, further linking physical discipline with spiritual and artistic pursuits within the Hindu context.
The gotipua tradition gained significant prominence in the 16th century, coinciding with a popular Hindu devotional movement that emphasized the worship of Krishna as a female devotee. In this movement, every devotee was considered a consort of Krishna. Gotipuas, dressed as females, were ideally positioned to become messengers of this evolving devotional expression, bridging religious sentiment and artistic performance.
However, the Odissi dance style began a period of decline in the 17th century. The Mughal and then the British colonial powers gradually stripped royalty of their authority and financial resources, diminishing their capacity to support local temples and act as patrons of the arts. These forces undermined a sacred tradition, viewing it through a foreign and often unsympathetic lens. Temple dancing was misconstrued as scandalous, and the maharis were tragically misunderstood, their sacred role as “women of god” disregarded. This lack of patronage forced many dancers into dire circumstances. The entire ecosystem of sculptors, musicians, dancers, and painters suffered greatly. By the dawn of the 20th century, only remnants remained of this once-magnificent dance tradition. Fortunately, the gotipuas, existing outside the temple institution, did not face the same level of persecution as the maharis. This proved to be a crucial factor in the revival of Odissi dance in post-independent India. Ancient texts, temple sculptures, and the surviving gotipua tradition collectively served as the foundation for the reconstruction of the Odissi dance style by dedicated scholars and artists, ensuring the continuity of this vital form of Hindu artistic heritage.
On June 18th, experience the captivating mahari lyricism intertwined with the dynamic power of the gotipua tradition in “Yoga in Dance” at LACMA. This performance offers a window into the rich history and spiritual depth of Hindu Dance.
Kay Talwar
