DANCE | INDIAN DANCE | SEMI-CLASSICAL DANCE | CHHAU

CHHAU

Chhau dance, also spelled as Chau or Chhaau, is a semi classical Indian dance with martial, tribal and folk traditions, with origins in the eastern Indian state Odisha. It is found in three styles named after the location where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Jharkhand, and the Mayurbhanj Chau of Odisha.

The dance ranges from celebrating martial arts, acrobatics and athletics performed in festive themes of a folk dance, to a structured dance with religious themes found in Shaivism, Shaktism and Vaishnavism. The costumes vary between the styles, with Purulia and Serakeilla using masks to identify the character. The stories enacted by Chhau dancers include those from the Hindu epics the Ramayana and the Mahabharata, the Puranas and other Indian literature.

The dance is traditionally an all males troupe, regionally celebrated particularly during spring every year, and may be a syncretic dance form that emerged from a fusion of classical Hindu dances and the traditions of ancient regional tribes. The dance is amazing and brings together people from diverse socio-economic backgrounds in a festive and religious spirit.

Three styles of Chhau

Ileana Citaristi performing Mayurbhanj Chhau (Shaivism theme).

The Seraikella Chhau developed in Seraikela, the present day administrative headquarters of the Seraikela Kharsawan district of Jharkhand, the Purulia Chhau in Purulia district of West Bengal and the Mayurbhanj Chhau in Mayurbhanj district of Odisha. The most prominent difference among the three subgenres is regarding the use of masks. While, the Seraikela and Purulia subgenres of Chhau use masks during the dance, the Mayurbhanj Chhau uses none.

The Seraikella Chhau's technique and repertoire were developed by the erstwhile nobility of this region who were both its performers and choreographers, and in the modern era people from all backgrounds dance it. The Seraikella Chhau is performed with symbolic masks, and the acting establishes the role the actor is playing. The Purulia Chhau uses extensive masks shaped in the form of the character being played; for example, a lion character has a face mask of lion and body costumes too with the actor walking on all fours. These masks are crafted by potters who make clay images of Hindu gods and goddesses and is primarily sourced from the Purulia district of West Bengal. In the Mayurbhanj Chhau is performed without masks and is technically similar to the Seraikella Chhau.

Chhau mask

The most interesting fact, Purulia Chhau Dance is listed on UNESCO’s world heritage list of dances. The main difference between the Purulia chhau and Odisha chhau is in the use of the mask. Purulia chhau used the mask in dance, but Odisha does not have the mask thereby adding facial expression with body movement and gesture. Traditionally, the chhau dance held in the mid march when one agricultural circle end and a new circle begins. Purulia chhau dancer were the earthy and theatrical mask which represent the mythological characters. After making the shape of mask with clay, it is coloured and decorated with Shola and other things.

The Chhau mask of Purulia is registered under Geographical Indications. As the basic difference of Purulia Chhau the mask is unique and traditional.

These chhau masks are made by the artists from the Sutradhar community. The making of a mask goes through various stages. 8-10 layers of soft paper, immersed in diluted glue, are pasted one after another on the mould before the mud mould is dusted with fine ash powder. The facial features are made of clay. A special layer of mud and cloth is applied and the mask is then sun-dried. After this, the mould is polished and the second round of sun drying is done before separating the layers of cloth and paper from the mould. After finishing and drilling of holes for the nose and eyes, the mask is colored and decorated.

DANCE | INDIAN | SEMI CLASSICAL

SEMI-CLASSICAL DANCE

The steps and moves of semi-classical dances are not as complex or intricate as pure classical forms. However, the authenticity of the Indian dance form is preserved and students are able to grasp these lighter semi-classical dances easily. Semi-classical dances are fun and fluid.

This type of dance breaks the stylized structures and forms of the classical dance, and adopts a more contemporary feel and steps. All along the ethos of the basic dance remains intact. Semi classical is the combination of classical dance performed on any Bhajans and Ghazals.

DANCE | INDIAN DANCE CLASSICAL DANCE | MOHINIYATTAM

MOHINIYATTAM

Mohiniyattam, also spelled Mohiniattam, is one of the eight classical dances of India that developed and remain popular in the state of Kerala. The other classical dance form from Kerala is Kathakali. Mohiniyattam dance gets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers.

 Mohiniyattam's roots, like all classical Indian dances, are in the Natya Shastra – the ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style described in Natya Shastra, that is a dance which is delicate, eros-filled and feminine. It is traditionally a solo dance performed by women after extensive training. The repertoire of Mohiniyattam includes music in the Carnatic style, singing and acting a play through the dance, where the recitation may be either by a separate vocalist or the dancer herself. The song is typically in Malayalam-Sanskrit hybrid called Manipravalam.

HISTORY

The earliest mention of the word is found in the 16th-century legal text Vyavaharamala, but the likely roots of the dance are older. The dance was systematized in the 18th century, was ridiculed as a Devadasi prostitution system during the colonial British Raj, banned by a series of laws from 1931 through 1938, a ban that was protested and partially repealed in 1940. The socio-political conflict ultimately led to renewed interest, revival and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet Vallathol Narayana Menon.

REPERTOIRE

Mohiniyattam is a lasya subgenre of dance, performed in the Kaisiki vritti (graceful style), as discussed in ancient Indian performance arts texts such as the Natya Shastra. More specifically, it is a dance that excels in Ekaharya Abhinaya form, that is a solo expressive dance performance aided by singing and music. The dance includes nritta (pure dance, solo), nritya (expressive dance, solo) and modern productions sometimes include natya(play, group dance):

• The Nritta performance is abstract, rhythmic aspect of the dance that appears early and at the end of the dance repertoire. The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story.

• The Nritya is the expressive aspect of the dance that attempts to communicate a storyline, with emotions and feelings, with spiritual themes. In a nritya, the dance-acting (Abhinaya, Vaittari) expands to include silent expression of words through hand and facial gestures and body motion set to musical notes. The dancer articulates a legend or a spiritual message, aiming to engage the emotions and mind of the viewer.

The basic posture of Mohiniyattam is parted feet, knees bent outwards, an erect upper torso, gentle 8-shape side to side swaying of body along with hips (Ati Bhanga). The footwork is soft, sliding and synchronous with the musical beat and acting. The body movement is sometimes described in terms of calming images of nature as the swinging of the palm leaves, and the gentle undulating of ocean waves.

The basic dance units in Mohiniattam are known as atavus or atavukal, and these are grouped into four: Taganam, Jaganam, Dhaganam and Sammisram. The hand and facial gestures of the dance follow the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras.

SEQUENCE

The repertoire sequence of Mohiniyattam is similar to that of Bharatanatyam, and contains seven items that are performed to a structure described in classical dance texts: Cholkettu (invocation, but starts with offering reverence to a goddess Bhagavati and ends with a prayer to Shiva), Jatisvaram or more precisely Swarajeti, Varnam (a play wherein she embeds a mimicry for distraction while communicating the underlying story or message), Padam (song), Tillana (dancer's interpretation of melody the musician create), Shlokam and Saptam.

COSTUMES

The costume includes plain white or off-white such as ivory or cream colored sari embroidered with bright golden or gold laced colored brocade (similar to a ceremonial Kasavu saree). She wears a fitted choli (blouse) matching the sari, below which at the waist is a golden belt which tucks in the end of the sari, and highlights the waist. In front of the saree, below the belt is pleated sheet with concentric bands in gold or saffron colors, which allow freedom of movement and assist in visually communicating the mudra to distant audience.

The dancer wears relatively simple jewelry and no masks, in contrast to the other major classical dance of Kerala called Kathakali. Her jewelry typically includes items on fingers, wrists, neck and ears (which may have bells). The face makeup is natural, but lips are brilliant red, she has the Hindu tikka (Gobi) on her forehead and her eyes are lined to help prominently highlight the eye movements during the dance. Her ankles are adorned with leather straps with bells (chilanka), feet and fingers colored red with natural dyes. Her hairdo is gathered and tied into a smooth tight round chignon on one side of her head (typically left) and the bun then ringed with fragrant flowers (typically jasmine mulla).

DANE | INDIAN DANCE | CLASSICAL DANCE | MANIPURI

MANIPURI

Manipuri dance, also known as Jagoi, is one of the major Indian classical dance forms, named after the region of its origin – Manipur, a state in northeastern India bordering with Myanmar (Burma), Assam, Nagaland and Mizoram. It is particularly known for its Hindu Vaishnavism themes, and exquisite performances of love-inspired dance drama of Radha-Krishna called Raslila. However, the dance is also performed to themes related to Shaivism, Shaktism and regional deities such as Umang Lai during Lai Haraoba. 

The Manipuri dance is a team performance, with its own unique costumes, aesthetics, conventions and repertoire. The Manipuri dance drama is, for most part, marked by a performance that is graceful, fluid, sinuous with greater emphasis on hand and upper body gestures. 

Manipuri dance is a religious art and its aim is the expression of spiritual values. Aspects of this performance art is celebrated during Hindu festivals and major rites of passage such as weddings among the Manipuri people, particularly in the ethnic majority of Meitei people. The dance drama choreography shares the plays and stories of 'Vaishnavite Padavalis', that also inspired the major Gaudiya Vaishnava-related performance arts found in Assam and West Bengal.

HISTORY

The roots of Manipuri dance, as with all classical Indian dances, is the ancient Hindu Sanskrit text Natya Shastra, with influences and the culture fusion between various local folk dance forms. According to the traditional legend, the indigenous people of the Manipur valley were the dance-experts revered as Gandharvas in the Hindu epics (Ramayana and Mahabharata), suggesting a dance tradition has existed in Manipur since antiquity. With evidence of Vishnu temples in the medieval era, the dance arts have been passed down verbally from generation to generation as an oral tradition. The first reliably dated written texts describing the art of Manipuri dance are from the early 18th-century.

REPERTOIRE

The traditional Manipuri dance style embodies delicate, lyrical and graceful movements. The dance features rounded soft sensuous movements of women, and occasional fast movements by male characters. Unlike other classical Indian dances with religious themes, the Manipuri dance artists do not wear anklet bells and the footwork is subdued and gentle in the Manipuri style. The stage movements is part of a composite movement of the whole body.

Chali or Chari is the basic dance movement in Manipuri Ras dances. The repertoire and underlying play depends on the season. The dances are celebrated on full moon nights, three times in autumn (August through November) and once again in spring (March or April). The Vasant Ras is timed with the Hindu festival of colors called Holi, while others are timed with post-harvest festivals of Diwali and others. The plays and songs recited during the dance performance center around the love and frolics between Radha and Krishna, in the presence of Gopis named Lalita, Vishakha, Chitra, Champaklata, Tungavidya, Indurekha, Rangadevi and Sudevi. There is a composition and dance sequence for each Gopi, and the words have two layers of meanings, one literal and other spiritual. The longest piece of the play focuses on Radha and Krishna. The dancer playing Krishna expresses emotions, while the body language and hand gestures of the Gopi display their feelings such as longing, dejection or cheer.

COSTUMES

The classical Manipuri dance features unique costumes. The women characters are dressed like a Manipuri bride, in Potloi costumes, of which the most notable is the Kumil. A Kumil is an elaborately decorated barrel shaped long skirt stiffened at the bottom and close to the top. The decorations on the barrel include gold and silver embroidery, small pieces of mirrors, and border prints of lotus, Kwaklei orchid, and other items in nature. The Kumil may be an adaptation of Fanek (or Phanek) – a tighter sarong-like wear which is used in more vigorous dances and by male characters. The Kumil is bordered at the top with undulating gauzy translucent top skirt shaped like an open flower, and tied in Trikasta or three places around the waist (front, back and one side) with spiritual symbolism of the ancient Hindu texts. The upper body is dressed in a velvet blouse, the head covered in a white translucent veil, to symbolically mark elusiveness. The dancers do not wear bells on ankles as in other classical Indian dances, but like them Manipuri dance artists do adorn the face, neck, waist, hands and legs with round jewelry ornaments or flower garlands that flow with the dress symmetry. The symmetrical translucent dress, states Reginald Massey, makes "the dancers appear to float on the stage, as if from another world".

The male characters dress in a dhoti (also called dhotra or dhora) – a brilliantly colored broadcloth pleated, wrapped and tied at waist and allowing complete freedom of movement for the legs. The Krishna character wears a peacock feather containing crown, with a feathery attachment at the back.

DANCE | INDIAN DANCE | CLASSICAL DANCE | SATTRIYA

SATTRIYA

Sattriya, or Sattriya Nritya, is orinated in the eastern state of Assam. It is a dance-drama performance art with origins in the Krishna-centered Vaishnavism monasteries of Assam, and attributed to the 15th century Bhakti movement scholar and saint named Srimanta Sankardev.

One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama. The plays are usually performed in the dance community halls (namghar) of monastery temples (sattras). The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.

Recognized in 2000 as a classical dance by Sangeet Natak Akademi of India, modern Sattriya explores many themes and plays, and its performances staged world-wide.

COSTUMES

The costume of Sattriya dance is primarily of two types: the male costume comprising the dhoti and chadar and the paguri ( turban) and the female costume comprising the ghuri, chadar and kanchi (waist cloth). Traditionally the costumes were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the costumes. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance costumes changed. Pat (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and muga ( golden silk of Assam) is also used in preparing the dance costume. Other brilliant colours are also used in the female costumes. These hand-woven materials normally have intricate local motifs like Kingkhap, Miri Motif, Kolka etc.

Traditional Assamese jewellery is used in Sattriya dance. The jewelleries are made in a unique technique in Kesa Sun( raw gold). Artists wear Kopali on the forehead, Muthi Kharu and Gam Kharu(bracelets), different type of neck pieces like Mata Moni (for male dancers), Golpata, Dhulbiri (shaped like the musical instrument dhol), Bena(pendant shaped like a crescent), Jethipata (lizard shaped), Dugdugi (leaf shaped), Senpata (eagle shaped), Dhansira (strand of rice grain), Lokaparo (pegion design). Earrings are made in similar designs and also Thuka Suna and Keru are worn by dancers. Female dancers wear white flowers in the hair.

The facial makeup of Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for make up.

Styles

A Sattriya performance comes in many styles such as the Sutradhara (or Sutra-bhangi), character specific Bhangi, Prabesh, Nritya and Jhumura. The Sutradhara is a style that tells a story and presents the spiritual values of Vaisnavism in a complete classical format: nritta, nritya and natya. One feature of the Sutradhara (or Sutradhari) style is the included commentary for the audience in local language.

Ankiya Nat is a subgenre consisting of one-act plays of Sattriya. These are dedicated compositions but feature a ballad, dance and drama.

The character specific different styles of Sattriya have their own costume variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.

DANCE | INDIAN DANCE | CLASSICAL DANCE | KATHAKALI

KATHAKALI

Kathakali  is one of the major forms of classical Indian dance. It is a "story play" genre of art, but one distinguished by the elaborately colorful make-up, costumes and facemasks that the traditionally male actor-dancers wear.  Kathakali primarily developed as a Hindu performance art in the Malayalam-speaking southwestern region of India (Kerala).

Kathakali's roots are unclear. The fully developed style of Kathakali originated around the 17th century, but its roots are in the temple and folk arts (such as Kutiyattam and religious drama of the southwestern Indian peninsula), which are traceable to at least the 1st millennium CE. A Kathakali performance, like all classical dance arts of India, synthesizes music, vocal performers, choreography and hand and facial gestures together to express ideas.

The traditional themes of the Kathakali are folk mythologies, religious legends and spiritual ideas from the Hindu epics and the Puranas.The vocal performance has traditionally been performed in Sanskritised Malayalam. In modern compositions, Indian Kathakali troupes have included women artists, as well as adapted Western stories and plays such as those by Shakespeare and from Christianity.

Costumes

Kathakali is famed for its elaborate costumes and facial painting.

Of all classical Indian dances, Kathakali has the most elaborate costuming consisting of head dresses, face masks and vividly painted faces. It typically takes several evening hours to prepare a Kathakali troupe to get ready for a play.

The makeup follows an accepted code, that helps the audience easily identify the archetypical characters such as gods, goddesses, demons, demonesses, saints, animals and characters of a story. Seven basic makeup types are used in Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi(knife), Kari, Thaadi, Minukku and Teppu. These vary with the styles and the predominant colours made from rice paste and vegetable colors that are applied on the face. 

• Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as Krishna, Vishnu, Rama, Shiva, Surya, Yudhishthira, Arjuna, Nala and philosopher-kings.
• Tati (red) is the code for someone with an evil streak such as Ravana, Dushasana and Hiranyakashipu. Some characters have green face (representing heroic or excellences as a warrior) with red dots or lines on their cheeks or red colored mustache or red streaked beard (representing evil inner nature), while others have full face and beard colored red, the latter implying excessively evil characters.
•  Kari (black) is the code for forest dwellers, hunters, and middle ground character. Demonesses and treacherous characters are also painted black but with streaks or patches of red.
• Yellow is the code for monks, mendicants and women.
•  Minukka (radiant, shining) with a warm yellow, orange or saffron typifies noble, virtuous feminine characters such as Sita, Panchali and Mohini. Men who act the roles of women also add a false top knot to their left and decorate it in a style common to the region. 
• Vella Thadi (white beard) represents a divine being, someone with virtuous inner state and consciousness such as Hanuman. 

• Teppu are for special characters found in Hindu mythologies, such as Garuda, Jatayu and Hamsa who act as messengers or carriers, but do not fit the other categories. Face masks and head gear is added to accentuate the inner nature of the characters. The garments colors have a similar community accepted code of silent communication.

Acting

Sringara, one of the nine facial expressions mentioned in Natyasastra

Like many classical Indian arts, Kathakali is choreography as much as it is acting. It is said to be one of the most difficult styles to execute on stage, with young artists preparing for their roles for several years before they get a chance to do it on stage. The actors speak a "sign language", where the word part of the character's dialogue are expressed through "hand signs (mudras)", while emotions and mood is expressed through "facial and eye" movements. In parallel, vocalists in the background sing rhythmically the play, matching the beats of the orchestra playing, thus unifying the ensemble into a resonant oneness.

Several ancient Sanskrit texts such as Natya Shastra and Hastha Lakshanadeepika discuss hand gestures or mudras. Kathakali follows the Hastha Lakshanadeepika most closely, unlike other classical dances of India.

There are 24 main mudras, and numerous more minor ones in Kathakali. There are nine facial expressions called Navarasas, which each actor masters through facial muscle control during his education, in order to express the emotional state of the character in the play. The theory behind the Navarasas is provided by classical Sanskrit texts such as Natya Shastra, but sometimes with different names, and these are found in other classical Indian dances as well.

The nine Navarasas express nine Bhava (emotions) in Kathakali as follows: Sringara expresses Rati (love, pleasure, delight), Hasya expresses Hasa (comic, laugh,mocking), Karuna expresses Shoka (pathetic, sad), Raudra expresses Krodha (anger, fury), Vira expresses Uthasa (vigor, enthusiasm, heroic), Bhayanaka expresses Bhaya (fear, concern, worry), Bibhatsa expresses Jugupsa (disgust, repulsive), Adbhuta expresses Vismaya (wondrous, mavel, curious) and Shanta expresses Sama (peace, traquility).

Sequence

A Kathakali performance typically starts with artists tuning their instruments and warming up with beats, signaling to the arriving audience that the artists are getting ready and the preparations are on. The repertoire includes a series of performances. First comes the Totayam and Puruppatu performances, which are preliminary 'pure' (abstract) dances that emphasize skill and pure motion. Totayam is performed behind a curtain and without all the costumes, while Puruppatu is performed without the curtain and in full costumes.

The expressive part of the performance, which constitutes the dance-drama, is split into four tyes: Kalasam (major and most common), Iratti (special, used with battles-related Cempata rhythm), Tonkaram (similar to Iratti but different music), and Nalamiratti (used for exits or link between the chapters of the play).

Entrance of characters onto the Kathakali stage can be varied. Many of these ways are not found in other major Indian classical dance traditions. Kathakali employs several methods: 1) direct without special effects or curtain; 2) through the audience, a method that engages the audience, led by torch bearers since Kathakali is typically a night performance; 3) tease and suspense called nokku or tirassila or tiranokku, where the character is slowly revealed by the use of a curtain. The "tease" method is typically used for characters with hidden, dangerous intentions.

DANCE | INDIAN DANCE | CLASSICAL DANCE | ODISSI

ODISSI

Odissi, also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha – an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath).

Odissi is learnt and performed as a composite of basic dance motif called the Bhangas (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting expression and audience engagement with geometric symmetry and rhythmic musical resonance. An Odissi performance repertoire includes invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and moksha (dance climax connoting freedom of the soul and spiritual release).

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) which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment. Modern Odissi productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays. 

Odissi was the only Indian dance form present in Michael Jackson's 1991 hit single Black or White.

Basic moves and mudras

Odissi mudra murals in Bhubaneswar

Odissi pose at Konark Sun Temple

The basic unit of Odissi are called bhangas. These are made up of eight belis, or body positions and movements, combined in many varieties. Motion is uthas (rising or up), baithas (sitting or down) or sthankas (standing). 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 confused pace suggests dejection. For aesthetics, movement is 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. The foot movement or pada bhedastoo have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.

The three primary dance positions in Odissi are:

• Samabhanga – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent.
• Abhanga – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways.
• 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 tribhangapostures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.

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

• Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, 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.

Costumes

The Odissi Costume

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). It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork.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 tradition. The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with Seenthi. Their hairstyle may contain a moon shaped crest of white flowers, 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).

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). 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). The dancer's palms and soles may be painted with red coloured dye called the Alta.

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.