Odissi
° Introduction
° Features of Odissi
° History
° Technique
° Repertoire
° Costume & Jewelry
° Music
° Dancers & Institutes
The Orissan texts have mentioned various movement patterns, some of which are seen and practised and some have become obsolete.
Minadandi
Literally meaning covering space like space. This involves a semicircular walk or the covering of space by one leg more specifically the calf in semicircles, returning back to centre. The other half of the body is static. The same is repeated by other foot or leg.
Ghera
This involves covering of space in circles, half circles, semi-circles and concentric circles.
Movements emerging from Tribhangi, Baitha and Chauka
There are various movenets which arise out the Tribhangi keeping one half of the body static and the other leg extening in different directions like back, front and sides. In movements emerging from Baitha , one foot and knee are in contact with the ground whereas the other leg is extended to the side or back. In movements emerging from Chauka, the feet are static and only the torso can move or a complete piroutte can be executed holding the chauka position.
Charis
Abhinaya Chandrika mention other types of movemets, one of them being the charis. There are ekpada chari and dvipada charis.
Bhramaris
Bhramaris are the spins and the pirouttes executed from the three positions : Tribhangi, Samapada and Chauka , both clockwise and anti-clockwise. There are various Bhramaris depending on their foot contact at the initil position and the final movement or their level of elevations of the knee and the direction of the pirouttes. For eg: Utpluta bhramari, viparita bhrmari, antar bhramari and the simple bhramari.
Shilpaprakasha mentions 16 types of Sculptural poses, the Alasa Kanyas, those that are indolent, those who hold lotuses, those who hold mirrors in their hands, those weaving ketki flowers, those playing on the drums, those holding a child, or a fly whisk. In the contemporary Odissi technique, many of these poses are recreated or repeated.
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