Traditionalists, such as D. N Patnaik and one of the co-founders of Jayantika, have critiqued much of this innovation. For Patnaik, it has taken over the form, and dancers such as those at Nrityagram have not maintained its integrity and the margam as codified by Jayantika. Ironically, Nrityagram received a similar critique of not being ‘traditional enough’ but from a member of the western press. A review in the Village Voice entitled ‘From exotic climes, half a dozen dancing princesses. Collect ’em all!’ states:
The technique is built by the use of an intricate system of foot-work. Pure dance (nritta) is all important where complex rhythmic patterns are created through the use of the flat feet and the control of sound of the ankle bells worn by the dancer. As in Bharatnatyam, Odissi and Manipuri, Kathak also builds its pure dance sequences by combining units of movement. The cadences are called differently by the names tukra, tora, and parana, all indicative of the nature of rhythmic patterns used and the percussion instrument accompanying the dance. The dancer commences with a sequence called That where soft gliding movements of the neck, eyebrows and the wrists, are introduced. This is followed by a conventional formal entry known as the Amad (entry) and theSalami (salutation).
Then follow the various combinations of rhythmic passages all punctuated with and culminating in a number of pirouettes. The pirouettes are the most characteristic feature of the dance style in nritta portions. Recitation of the rhythmic syllables is common; the dancer often pauses to recite these to a specified metrical cycle followed by execution through movement. The nritta portion of Kathak is performed to the nagma. Both the drummer (here the drum is either a pakhawaj, a type of mridangam, or a pair of tabla) and the dancer weave endless combinations on a repetitive melodic line. The metrical cycle (tala) of 16, 10, 14 beats provides the foundation on which the whole edifice of dance is built.
Notwithstanding the problematic comparison to Disney princess caricatures, the author takes issue with Nrityagram’s innovation. Companies like Nrityagram end up displeasing traditionalists such as Patnaik who feel that their work is too innovative, as well as displeasing a particular type of western viewer who subscribes to a static notion of tradition and an essentialist view of Indian dance. On the one hand, there is innovation in Odissi dance, and on the other, there is the argument that Odissi is losing its regional essence and integrity. But both positions on this continuum, despite their opposing attitudes, seem to agree that the traditions and parampara of Odissi today are in constant movement and that change is inevitable. But it is the kind of change that is under dispute, as well as who gets to decide what constitutes innovation.
Although this innovation may emerge from within the traditions or parampara of Odissi, it is not without criticism. These dancers negotiate between trying to make new work that is taken seriously by the Odissi establishment and a global audience. Odissi traditionalists criticize it as not being sufficiently traditional, and in the West it is sometimes viewed as not ‘Indian’ enough. But whether the innovation occurs as a new pallavi set to a raga or a work that references environmentalism and land rights, there is a continuum of work that stretches definitions of the traditional, by building on the rigorous and foundational training of Odissi dance. These dancers may or may not acknowledge the innovation of their work, but for them it is ultimately ‘locatable back to a source’, a source that draws on a body trained via and engages with the traditions of the dance. It is both strategic and crucial that the dancing body remain at the centre of the discourse and practice of Odissi.
Awards and Anchoring Script Essay - 395 Words (Essay on odis
Shakti Bhakti’s Lotus Moon is a spellbinding presentation of traditional Odissi Dance. Merging innovative composition with original video projection, the show delivers ancient art into the timeless present. A tribute to women worldwide, the choreography showcases the resilience, beauty and power of the feminine. The photographs I created with them hope to capture the classic forms and expression of the dance form, complimented by the dedicated dancers of Shakti Bhakti who dedicate themselves to extended periods of study and performance.
Essay on classical dances of india. Term paper Help
Odissi, one of eight Indian ‘classical’ dances, was officially codified in 1958 through the formation of Jayantika, a group of gurus and scholars who came together in the mid-twentieth century. However, this fact is often elided in historical and national narratives of the dance that invoke a seamless trajectory back to antiquity citing both sculptural and scriptural evidence. The Odissi of today is described as drawing on the traditions of the maharis, the female temple dancers, and the gotipuas, male dancers. The maharis participated in temple rituals as early as the ninth century ad, and their presence continued until the sixteenth century. By the twentieth century, the practice of their dance had declined and they found it extremely hard to survive. The gotipuas, who performed dressed as women, came into existence during the seventeenth century. Unlike the maharis, they were not affiliated with the temple but with akhadas/gymnasiums. The practice of this form of the dance moved to the akhadas and its practitioners also became known as akhadapilas or boys of the akhada. Although the gotipuas came to be associated with temple events and Vaishnavism through their song and dance, unlike the maharis they never performed inside the temple (Chatterjea 2004: 148).
The Dance of Siva: Essays on Indian Art and Culture Dover
I analyse the work of some dancers who work within the traditions of Odissi dance as a way to expand the existing repertoire or margam (literally, pathway) of Odissi dance, and yet must negotiate their innovation with Odissi traditionalists and new audiences abroad. Many of these dancers describe tradition via metaphors of nature, such as rivers and streams. Their ideas of tradition and their resultant innovation reflect the fluidity of these metaphors, such that the new works they create become strategic sites to explore the politics of the form. As Odissi has become increasingly globalized, there has emerged a tension between varying notions of tradition, and a need to maintain fixity even though the history of Indian dance has always been fraught with anxieties about maintaining the authenticity of traditional forms. I argue that tradition(s) and how dancers engage with them contributes to the broad variance of the dance as it is performed and practiced today, and their individual engagement with these varying notions of tradition is what fosters innovation. Tradition(s) thus function as an interlocutor that dancers engage with continuously and dynamically to create innovative work that is accomplished through sadhana/daily practice such that innovation becomes an embodiment of that effort.