Odissi and Sattriya

Odissi

Odissi dance form

Odissi is one of the famous classical Indian dances from Orissa state. The history of Odissi dance is almost two thousand years old. Odissi is a highly inspired, passionate, ecstatic and sensuous form of dance. Like most of the South Indian classical dances of India Odissi too had its origin in the Devadasi tradition. The state of Orissa has a great cultural history. The rulers of this region built magnificent temples, which became the center of art and culture. It was around these temples that Odissi, one of India's scintillating dance-forms was born, nurtured and nourished. 

In its present form Odissi is a well established and codified classical dance form of India. Odissi is considered a dance of love, joy and intense passion, pure, divine and human. Over a period of time three schools of Odissi dance developed, they are- Mahari, Nartaki, and Gotipau. The Mahari system traces its roots in the Devadasi tradition. The dance form of Odissi that developed in royal courts is called the Nartaki tradition. In the Gotipau tradition of Odissi dance young boys dress up in female attires and enact female roles. 

Before the 17th century Odissi dance was held in great esteem due to patronage and support of local rulers and nobles. During this period even the royalty was expected to be accomplished dancers. However, the scenario changed after the 17th century. The dancing girls were thought of as prostitutes and from here the social position of dancers began to decline. During the colonial period too the position of Odissi dance suffered due to anti-nautch attitude of the British. 

With India gaining independence there began great efforts to revive the classical Indian dances. The government came to realize the role of cultural heritage in creating a national identity. A number of people and experts took initiatives for the reconstruction and popularization of Odissi dance. Some of the notable are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan Das, Guru Mahadev Rout, Guru Raghu Dutta and Guru Kelu Charan Mahapatra. 

One of the most distinguishing features of Odissi dance is the Tribhangi. The notion of Tribhang divides the body into three parts, head, bust and torso. The postures dealing with these three elements are called Tribhangi. This concept has created the very characteristic poses which are more twisted than found in other classical Indian dances. Mudra is also an important component of Odissi dance. The term Mudra means "stamp" and is a hand position which suggests things. Odissi themes are almost religious in nature and mostly revolve around Krishna.

Sattriya

Sattriya dance form

The Sattriya dance form was introduced in the 15th century A.D by the great Vaishnava saint and reformer of Assam, Mahapurusha Sankaradeva as a powerful medium for propagation of the Vaishnava faith. The dance form evolved and expanded as a distinctive style of dance later on. This neo-Vaishnava treasure of Assamese dance and drama has been, for centuries, nurtured and preserved with great commitment by the Sattras i.e. Vaishnava maths or monasteries. Because of its religious character and association with the Sattras, this dance style has been aptly named Sattriya.

Sankaradeva introduced this dance form by incorporating different elements from various treatises, local folk dances with his own rare outlook. There were two dance forms prevalent in Assam before the neo-Vaishnava movement such as Ojapali and Devadasi with many classical elements. Two varieties of Ojapali dances are still prevalent in Assam i.e. Sukananni or Maroi Goa Ojah and Vyah Goa Ojah. Sukananni Oja paali is of Sakti cult and Vyah Goa Oja paali is of Vaishnava cult. Sankaradeva included Vyah Goa Ojah into his daily rituals in Sattra. Till now Vyah Goa Ojah is a part of rituals of the Sattras of Assam. The dancers in a Oja paali chorus not only sing and dance but also explain the narration by gestures and stylized movements. As far as Devadasi dance is concerned, resemblance of a good number of rhythmic syllables and dance postures along with footwork with Sattriya dance is a clear indication of the influence of the former on the latter. Other visible influences on Sattriya dance are those from Assamese folk dances namely Bihu, Bodos etc. Many hand gestures and rhythmic syllables are strikingly similar in these dance forms.

Sattriya dance tradition is governed by strictly laid down principles in respect of hastamudras, footworks, aharyas, music etc. This tradition, has two distinctly separate streams - the Bhaona-related repertoire starting from the Gayan-Bhayanar Nach to the Kharmanar Nach, secondly the dance numbers which are independent, such as Chali, Rajagharia Chali, Jhumura, Nadu Bhangi etc. Among them the Chali is characterized by gracefulness and elegance, while the Jhumura is marked by vigor and majestic beauty.