I write this on request of my beloved students- Odissi Dance-"charis" Odissi can quite rightly claim to be the most ancient amongst the Indian classical dances. Evidence of a dance known as the Odhra Magadhai existed even before the Natyasastra and is mentioned in the above work. The captivating style of Odissi dance is based in tandava (vigorous, masculine) and lasya (graceful, feminine) dance, and has two basic postures: ‘Tribhangi’, where the body is held with three bends of the head, torso and knees, and ‘Chouka’, a square- like stance that symbolizes Lord Jagannath. The fluidity of the upper torso is characteristic for Odissi, reminding us of the gentle waves of the sea that forever caress the magnificent Orissa beaches. As part of the fundamental stepping, we have 10 basic Chouka steps, and 10 basic tribhangi steps. Each step includes the number of footwork corresponding with its number. For example, Chouka number 1 has one footwork, Chouka number 2 has two footwork, number 3 – three, etc. In addition to the basic stepping, we have a number of spins (Bramharis), Transition steps (Charis), unique walks (Gatis) and many variations of them all. The movement technique is developed from the basic position. There can be the possibility of walking in space, in different directions, in different manner and at different levels. The most characteristic amongst these is the semi-circular walk or the covering of space by one leg, more specifically the calf in semi circles, returning back to centre. The other half of the body is static. The same as the Minadandi i.e. covering space like a fish. There is then the manner of covering space in circles, half circles and concentric circles. This is known as ghera. From the tribhanga position emerge another group of movement. One half of the body is kept static along the vertical median, one knee continues to be bent and the other leg is either extended to the side or to the front or to the back. It can cross the static foot at the back or the front, it can be elevated at different levels and it can be totally extended at the back with the knee bending or calf and thigh in a straight line. Through a sitting or a kneeling position another group of movements emerge. The most characteristic amongst these is the extension of one leg to the side or to the back while one foot and knee are in contact with the ground. These movements arise out of the sitting position known by the generic term baitha. Another group of movements emerge out of basic position of the chauka or the mandalasthana. Here either movement can be in place i.e. the feet can be static and only the torso can move or a complete pirouette can be executed holding the chauka position. Weight rests on the bent leg and the free leg executes a pirouette . The Odissi technique has developed many single leg movements called the ek pada chari or using both legs or the feet called the dvipada charis and innumerable other ways of depicting the pose which can be seen in the sculptures reliefs in the Orissan temples. The dancer controls her body in the manner in which the sculpture pose is held for a spilt second only to get back into a series of movements termed. The sculpturesque quality of Odissi dance is dependent on perfect execution of these charis. Another group of movements termed as Bhramaris are equally important. These are the spins or the pirouettes. Pirouettes can be executed in the tribhanga position or the chauka, both clockwise and anticlockwise and they can be executed in the standing position. Pirouettes also emerge from the three basic positions of the samapada, the tribhanga and the chauka. There is a simple bhramari, a bhramari with a jump therefore called an ut-pluta bhramari or an anti-clockwise pirouette called Viparita bhramari. There is also the bhramari called the antara bhramari. Here one foot touches the knee of the other leg and a pirouette is executed. The movement patterns of Odissi dance emerges from the positions, the manner of covering space and the method of executing the bhramaris. There are then the group movements which may be called elevations, jumps or Utpluta. There is whole group of movements in Odissi dance where jumps and hopes are suggested and there is lack of contact with the ground. There are the sculptural poses which can contained within the dance techniques. From the tribhanga can emerge many sculptural poses which have been given different names some suggesting the type of heroines i.e. nayikas, others suggesting the type of movement i.e. half bent, full bent etc and yet others suggesting an approach movement in Odissi dancing are called bhangis or sometimes the thais. The Odissi dancer always starts out with the sama pada position in which there is a perfect distribution of weight. This is then followed by the chowka in which the equilibrium of weight is maintained but the distance between the two feet is increased. This position is essentially a rectangular arrangement of the limbs of the body. The main poses in this dance form are the minadani, bartula, ghera and dvimukha . These are different methods of covering space. The minadani is a method by which one leg acts as an anchor while the other traces out a semi circle. The ghera is when the dancer gradually turns wider circles. The dvimukha is a distinctive feature of Odissi dance in which both the legs are extended. There are various forms of sitting, walking, leaping and elevations which reinforce some of the basic movements of the dance. Sitting positions are known by the generic term baitha . Walking movements are known as charis . These are of various styles and are one of the most exquisite methods of covering space. The dancer moves either front or back, in a circle etc. and creates intricate geometrical shapes and patterns. One of the most beautiful one is the spiral. The dancers weave their bodies into a spiral shape, with the different portions twisted in different ways. The final result is stunning, and portrays a static sculpture like quality. Odissi has a number of jumps, elevations and spins which form an important part of the dance. Odissi dancers also move the torso, and those movements are known as bhangis . Odissi dancers execute this movement in a very graceful and delicate manner. A mixture of southern and eastern styles, Odissi has carved an identity of its own. Precision and grace give this dance a distinctive touch Odissi like all classical dances in India follows the basic rules set forth in the Natyasastra. The human body is divided into two halves with equal distribution of weight. A deflection takes place when the dancer intentionally shifts weight from one part to the other. The body can be divided into three units namely the head, torso and hips and knees along which deflections can take place. The movement of the hips is a unique feature in Odissi for it is prohibited in the other dance forms. One of the typical poses in Odissi is the natavara bhangi or tribhanga . In Odissi this is achieved by sharply deflecting the hips in one direction, deflecting the torso in another and finally deflecting the head in the same direction as the hip. Odissi employs two techniques when it comes to the foot movements, the kunchita in which the toes touch the ground and the heel is raised and the anchita when the heel touches the ground and the toe is raised. Odissi also has some fairly exotic combinations of foot and leg movements, for instance a pose known as the Dhanupada requires the dancers to extend a foot and make it touch their ear.
Posted on: Wed, 10 Jul 2013 16:43:04 +0000
Trending Topics
Recently Viewed Topics
© 2015