Odissi is poetry in motion.

The white delicate headgear of an Odissi dancer adds to her aura. We will continue to discuss the realm of Aharya Abhinaya.

The decorative headpiece of the dancer is made from shola pith, a type of plant that grows abundantly in Orissa. This tradition of carving shola pith is called shola kama. A series of cuts are made into the stem and form various types of flowers when a cord is tied in the middle of the rod and pulled. As the string tightens, flowers blossom into jasmines, champa and kadamba.
The crown, known as the mahkoot, is exquisitely made in Puri, Orissa. The mahkoot consists of two parts. The flower decorated back piece is called the ghoba which represents the lotus flower with a thousand petals that lie above the head in the form of the head chakra, or energy center. The longer piece that emerges from the center of the back piece is called the thiya and this depicts the temple spire of Lord Jagganath.
Sola mahkoot tend to break very easily, so its best to store them in a box.  Cloth mahkoots are a better, longer lasting alternative that require less maintenance . During a performance the bun needs to be tight so that the mahkoot is secure. Most wardrobe malfunctions happen when the mahkoot is loose or the thiya is not inserted properly.

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“Indian classical dance is sustained by a profound philosophy. Form seeks to merge with the formless, motion seeks to become part of the motionless, and the dancer seeks to become one with the eternal cosmos.”

– Nita Ambani

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Odissi is a strikingly beautiful dance.

A vibrant color costume, intricate jewelry and makeup enhance the visual appeal of this sacred dance. These aspects of the art fall under the realm of Aharya Abhinaya.

Odissi dance costumes are well complemented by elaborate filigree silver or white metal jewelry. These ornaments are made of thin wire, and in Oriya it is called Tarchasi.
This highly skilled craft dates back to more than 500 years. The jewelry pieces comprise of the Seenthi (single piece) Mathapatti (forehead ornament), Allaka (head piece on which the Tikka hangs), Kappa (unique ear covers in a peacock pattern) Jhumka (bell shaped earrings) hanging from them; two necklaces – a smaller Chik (choker necklace) and a Padaka Tilaka (longer necklace with a hanging pendant) with Bajuband (armlets worn on the upper arm) and Kankana (wrist bracelets). The strikingly beautiful Bengapatia (3 tier belt). Ghungroos (bells) and anklets complete the look.
The jewelry should be stored wrapped in cloth to prevent oxidization. Moisture and sweat tend to blacken the jewelry. Toothpaste can be used for polishing. Do not cramp the jewelry as the links are delicate and break easily. During a performance its a good idea to pin your jewelry to the costume and carry an extra set of ghungroos.

New Sunday Odissi Group Classes 9.00 PST

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“Myths which are abundantly used in Indian dances are thematically timeless but how you transform these into universal metaphors and symbols is the challenge.”
“For an artist, the more you give yourself and your art to others, the more you discover your ‘reason of being’. This is the ultimate enriching learning experience of one’s artistic journey.”

– Ramli Ibrahim

You can find out more on our Events page.
Please like and follow us on our new Facebook and Instagram pages!

Make sure to check out our new Digital Library teaser video!

“Myths which are abundantly used in Indian dances are thematically timeless but how you transform these into universal metaphors and symbols is the challenge.”
“For an artist, the more you give yourself and your art to others, the more you discover your ‘reason of being’. This is the ultimate enriching learning experience of one’s artistic journey.”

– Ramli Ibrahim

You can find out more on our Events page.
Please like and follow us on our new Facebook and Instagram pages!

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Nilanjana Banerjee

Artistic Director, RDM Studio