Ghumura Folk Dance

Ghumura Dance or Ghumra Dance is one of the most sought and leading folk  dance form in Orissa. It is classified as folk dance as the dress code of Ghumura resembles more like a tribal dance. Many researchers claim it was a War dance in ancient India and used by Ravana in Ramayana. Ghumura dance is depicted in Sun Temple of Konark confirming this dance form is since the medieval period. In the ‘Madhya Parba” of “Sarala Mhabharata” Ghumura has been mentioned as: Dhola Madala Gadi je Ghumura Bajai Ghumura je Ghumu Ghumu Hoi Garajai

Ghumura was also used as a Darbari dance in the princely state of Kalahandi and played by the erstwhile Kalahandi state during war times. The typical mixed sound that comes out of the musical instruments like Ghumura, Nishan, Dhol, Taal, Madal etc. and the expressions and movements of the artists make this dance to be a “Heroic Dance”. The dance is associated with social entertainment, relaxation, love, devotion and friendly brotherhood among all class, creed and religion in the present days. Traditionally this dance is also associated with Nuakhai and Dasahara celebration in Kalahandi and large parts of South Western Orissa.

Ruk Mar Nacha & Chhau dance

This dance is originated and performed in the Mayurbhanj District of Odisha and also in Nilagiri of Baleswar district. It has its base in the martial arts tradition. 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. The instruments include ‘Mahuri’ – a double reeded instrument, ‘Dhola’ – a barrel shaped two-sided drum, ‘Dhumsa’ – a hemispherical drum and ‘Chadchadi’ – a short cylindrical drum.

Baagh Naach or Tiger Dance

The dancer (only males) paints his bare body with yellow and black stripes like that of a tiger and attaches a suitable tail. One or more dancers move from house to house and after a crowd gathers the dance begins. The dancers are accompanied by a drummer and a bell player who provides the music. The dance is nothing but acrobatic movement in rhythm. They make hissing sounds while dancing.

Dalkhai

It is the most popular folk-dance of Odisha. This is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Balangir, Sundargarh, Bargarh, Nuapada and Kalahandi districts. During this dance men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan, Tamki, Tasa and Mahuri. It is known as Dalkhai because in the beginning and end of every stanza the word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the description of natural scenery are represented through the songs. The song associated with this dance is sung in the Kosli Odia. The women generally dress themselves in colourful Sambalpuri Saris and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional jewellery, their robust frames sustain the strains of the dance for long hours.

Dhap dance

This Sambalpuri folk dance is mostly performed by the Kandha tribe of Kosal region. Both men and women participate in the dance. Men of one village dance with women of another village. Usually unmarried boys and girls take part. The dance is performed during marriage ceremony and more often for the sake of recreation. The dance is named so because of the accompanying instrument called ‘Dhap.’ The dhap is in the shape of a Khanjari made up of wood with one side open and the other side covered with a piece of animal skin. The dhap dancer holds the dhap with his left hand, the sling slung over his left shoulder, and beats with his right as well as left hand.

Shiraveda

Head movements are called shiraveda. The head movements refer to the head positions, while expressing particular bhava. There are nine types of head movements.

1. Sama– head straight
2. Udvahitta-head tilted back
3. Adomukha– head bend forward
4. Alolitha– head moving in circular motion (left to right – right to left)
5. Drutha– head moving from side to side (signaling ‘NO’)
6. Kampita– head moving up and down (signaling ‘YES’)
7. Paravritta– head turned towards left side
8. Ukshiptta– head tilted to the left side and eyes looking right top corner
9. Parivahitta– head moving in circular motion depicting the figure‘8’                                                                                                                                                                                                                                                                                                                                                                                 Drushtiveda

Eye movements are called Drushtiveda. The classifications of these eye movements are based on how we move the eye balls. There are eight types of Eye movements.

1. Sama– eyes looking straight ahead
2. Alokitta– eye balls moving in circular motion (clockwise and anti-clockwise)
3. Sachi– looking to the left corner
4. Pralokitta– continuous movement of eye balls from left to right corner
5. Nimilita– half closed eyes
6. Ullokitha– eyes looking up
7. Anuvritta– continuous movement of eyes up and down
8. Avalokita– looking at the nose tip

Grivabeda

Neck movements are called Grivaveda. Neck movements are an integral part of most Indian classical dance form. There are four types of grivaveda

1. Sundari– continuous neck movement from left to right
2. Tiraschina– neck movement from center to left corner then center to right corner
3. Paribartita– neck movement from left side to right side (like reading a namaz)
4. Prakampita– neck moving forward and backward (pecking of birds)

Traditional Odissi repertoire consists of 5 parts

1. Mangalacharana
2. Batu
3. Pallavi
4. Abhinaya
5. Mokshya

MANGALACHARANA:

Mangalacharana is an invocation piece where the dancer slowly enters the stage with flowers in her hands and makes an offering to mother earth.. After paying homage to Lord Jaganatha, a sloka in praise of God or Goddess is sung. Generally, Ganesha is called upon to grant an auspicious beginning. During the musical recitation of Sankrit slokas the Mardala is not played which contributes to the devotional atmosphere of the performance. The singing of the Sankrit slokas holds a very important place in the Sastras. Mangalacharana also includes Bhumi Pranam. Bhumi Pranam is a prayer to mother earth as a way of begging forgiveness for stamping on her. Trikhandi Pranam or the three-fold salutation is an integral part of Mangalacharana. In the Trikhandi Pranam there are three salutations done – first above the head for the God, second in front of the face for the gurus and third in front of the chest for the audience.

BATU NRUTYA:

Batu Nrutya is also known as Sthayee Nrutya. It is performed in the honour of Lord Shiva – the cosmic lord of dance. It is one of the 64 furious aspects of Lord Shiva known. The origin of the dance is from tantrism that has flourished in odishi. Batu nrutya is an item of pure nrutya and remains the most difficult item of Odissi dance. There is no song or recitation accompanying the dance, but through out the item refrain of rhythmic syllables is provided.

PALLAVI:

Pallavi is a pure dance item in which a raga is elaborated through eye movements, body postures and intricate footwork. Pallavi literally means blooming. This is applicable not only to the dance but also to the music, which accompanies it. Pallavi starts with slow, graceful, lyrical movement of the eyes, neck, torso and feet and slowly builds in a crescendo to climax in a fast tempo at the end. The name of the dance item is always based on the Raaga of the song accompanying it. For example, Desh pallavi is accompanied by Desh Raag, Basanta Pallavi is performed in Basanta Raaga and Hansadhwani Pallavi is performed in Hansadhwani Raaga.

ABHINAYA:

Abhinaya is an expressional dance, which is an enactment of a song or poetry, where a story is conveyed to the audience through mudras, bhavas, eye movements and body movements. The dance is fluid, very graceful and sensual. Abhinaya can be performed on verses in Sanskrit and Odiya language. Most common are abhinayas are on Sanskrit Astapadi or Sanskrit Stutis like Dasavatara or Ardhanari stotram. Abhinaya often forms the largest part of an Odissi performance, and these are usually longer dance pieces that involve intricate theatrical expressions.

MOKSHA:

Moksha is the conclusion item of a recital. Moksha means spiritual liberation. The dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movements and poses merge to create ever-new pattern, ever-new design in space and time. The dance moves onto a crescendo that is thrilling to both the eyes and the ears. With the cosmic sound of the ‘OM’ the dance dissolves into nothingness, just like moksha or the deliverance of the soul in real life.