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Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the Ragas and Raginis, respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer. [79]
Odissi music has a rich legacy dating back to the 2nd century BCE, when king Kharavela, the ruler of Odisha , patronized this music and dance. [ 6 ] The traditional artforms of Odisha such as Mahari, Gotipua , Prahallada Nataka , Radha Prema Lila, Pala , Dasakathia , Bharata Lila , Khanjani Bhajana, etc. are all based on Odissi music.
Being an proficient Odissi music composer, Pattanaik has integrated Odissi music in its original and undiluted format in her innovative and imaginative compositions and choreographies in Odissi dance. [4] Kasturi Pattanaik started her Odissi dance learning, along with Kathak Dance from her childhood.
The songs frequently employ padi, a characteristic feature of Odissi music. The percussion instrument used in the music of Prahallada Nataka is a mardala . The ensemble, which typically stands on one side of the mancha , includes Mardala , Mukhabina , Gini , Jhanja, and a Harmonium .
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolising Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often ...
Banamali's creations are frequently sung in classical Odissi music concerts & enacted in the abhinaya part of Odissi dance. He is known to have composed over 400 songs; Odissi, Chhanda, Bhajana, Janana, Chautisa and more. He is not known to have written any single kavya, but rather a large number of individual songs. The Ragas used by Banamali ...
The playing of the Mardala is based on the tala-paddhati or rhythmic system of Odissi music. A tala is a rhythmic structure in Indian music. The talas in use in Odissi music are distinctive, and are not found in other systems of Indian music. [2] The playing of the instrument follows a strict classical grammar.
The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion.