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Odishi Odissi performance at Nishagandi Dance Festival 2024 Genre Indian classical dance Origin Odisha, India Part of a series on Hinduism Hindus Mythology Origins Historical History Indus Valley Civilisation Vedic Hinduism Dravidian folk religion Śramaṇa Tribal religions in India Traditional Itihasa-Purana Epic-Puranic royal genealogies Epic-Puranic chronology Sampradaya (Traditions) Major ...
Like many other poses used in traditional Indian dance, including Odissi, Bharata Natyam and Kathak, Tribhangi or Tribhanga can be found in Indian sculpture as well. . Traditionally the Yakshi is shown with her hand touching a tree branch, and a sinuous pose, tribhanga pose, as is Salabhanjika, whose examples dating to the 12th century can be found in the Hoysala temples of Belur, in south ...
Odissi dance and music are classical art forms. Odissi is the oldest surviving dance form in India on the basis of archaeological evidence. [ 151 ] Odissi has a long, unbroken tradition of 2,000 years, and finds mention in the Natyashastra of Bharatamuni , possibly written c. 200 BC.
Pala is a unique form of balladry in Odisha, which artistically combines elements of theatre, classical Odissi music, highly refined Odia and Sanskrit poetry, wit, and humour. The literal meaning of Pala is turned. It is more sophisticated than the other Odia ballad tradition, Daskathia. Pala can be presented in three different ways.
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).
In Bharatanatyam, the classical dance of India performed by Lord Nataraja, approximately 48 root mudras (hand or finger gestures) are used to clearly communicate specific ideas, events, actions, or creatures in which 28 require only one hand, and are classified as `Asamyuta Hasta', along with 23 other primary mudras which require both hands and are classified as 'Samyuta Hasta'; these 51 are ...
In addition to taking care of the temple and performing rituals, these women also learn and practice classical Indian dances such as Bharatanatyam, Mohiniyattam, Kuchipudi, and Odissi. Their status as dancers, musicians, and consorts was an essential part of temple worship.
The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others. [8] In Indian classical music, each raga is an inspired creation for a specific mood, where the musician or ensemble creates the rasa in the listener. [12]