Notes

                    
Madhavi Mudgal Photo: Avinash Pasricha      Kiran Segal's Dance company

Overview

The Odissi (Orissi) dance is the Indian classical dance from the Eastern state of Orissa. It has a long, yet broken tradition. Although dance in Orissa may be traced back more than 2000 years, it was brought to near extinction during the colonial period. Therefore, modern Odissi dance is a reconstruction.

History
Like other forms of Indian classical dance, the Odissi style traces its origins back to antiquity. Dancers are found depicted in bas-relief in the hills of Udaygiri (near Bhubaneshwar) dating back to the 1st century BC. The Natya Shastra speaks of the dance from this region and refers to it as Odra-Magadhi.

Over the centuries three schools of Odissi dance developed: Mahari, Nartaki, and Gotipau. The Mahari tradition is the devadasi tradition; this is the use of women who are attached to deities in the temple. The Nartaki tradition is the school of Odissi dance, which developed in the royal courts. Gotipau is a style characterized by the use of young boys dressed up in female clothing to perform female roles.

Odissi dance was held in high esteem before the 17th century. Nobility were known for their patronage of the arts, and it was not unheard of for royalty of both sexes to be accomplished dancers. However, after the 17th century, the social position of dancers began to decline. Dancing girls were considered prostitutes, and the "Anti-Nautch" movement of the British brought Odissi dance to near extinction. The royal patronage of nartaki had been severely eroded by the absorption of India under the crown. The only viable Odissi tradition was the Gotipau. This had weathered the British Anti-Nautch movement simply because it was danced by males. Yet even the Gotipau tradition was in a very bad state.

After Independence, like the other classical arts, dance was seen as a way to define India's national identity. Governmental and non-governmental patronage increased. a massive job of reconstructing the Odissi dance began. This reconstruction involved combing through ancient texts, and more importantly, the close examination of dance posses represented in bas-relief in the various temples.

Today Odissi dance is once again deemed a viable and "classical" dance.

Technique
One of the most characteristic features of Odissi dance is the Tribhangi. The concept of Tribhang divides the body into three parts, head, bust, and torso. Any posture, which deals with these three elements, is called Tribhangi. This concept has created the very characteristic poses, which are more contorted than found in other classical Indian dances.

MUSIC
The musical accompaniment of Odissi dance is essentially the same as the music of Orissa itself. The music of the Odissi relates to the music of greater North India that is flavor of Hindustani Sangeet

There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. One difference is that the right head is a bit smaller than the usual north Indian pakhawaj. This necessitates a technique, which in many ways is more like that of the tabla, or Mridangam. Other instruments, which are commonly used, are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.

Interviews

Interview with Madhavi Mudgal           Interview with KIRAN SEGAL

Interview with Madhavi Mudgal by Shreya Kumar

Madhavi Mudgal
Dance style: Odissi
Gurus: Initially with Shri Harekrishna Behera
Then with legendary Guru Kelucharan Mohapatra

Q What Odissi means to you ??

When I picked up Odissi it was not as popular as Bharatanatyam or Kathak. Initially I learned Kathak and for me Odissi was challenging. It did not have an established structure or items like the Bharatanatyam or Kathak and not even I given repertoire.

Q Do you perceive a change in the dance form ??

For any dancer if you observe a style for over a long period there is always change because for each artist I think, unless you add something of your own, the vitality of the form will not be shown. Yes we were lucky that the Gottipuas where there as they had an important role in reviving this dance form. Now it's a very established form performed on stage and a lot of possibilities can be explored through it.

Q Is there a format or a repertoire followed ??

Initially we never had any number of musical items that we could dance to like tillanas etc in Bharatanatyam. A lot of it was explored during the 50s and now of course we follow a pattern, which is:
1. Mangalacharan
2. Batu - It's a pure nritta item with simple music and sculpturous poses.
3. Pallavi - Here the musical structure and dance movements are both explored, basically Nritta (pure dance)
4. Abhinaya - Geeta-govinda and Oriya songs are performed.
5. Moksh
Number of items varies with time constraint.

Q Do you feel the investment in classical dance is not as rewarding as it should be ??

If you really analyse many art forms there is no surety you will get anything in return. You'll do it because you love to do it. Initially I didn't know that I would reach a point where things will be comfortable. Dancers still don't earn as much as musicians do even at the top most level. One does it because you just love to do it. So in terms of return, you don't see that when you love it so much. I have studied architecture and I could have easily chosen that but this was my love I just had to dance.

Q When do u feel your students are ready for their Manch Pravesh ??

For Manch Pravesh I take a very long time! First of all they have to have the basic talent. I don't mean face; if you are a good dancer you will look good on stage. Talent in terms of grace and sense of Taal, of course that can be developed but initially sense of rhythm is important and a lot of hard work should be given. They have to take it up seriously its not for fun. There are people who come to learn just for the summer or to loose weight, I am sorry I don't entertain them.

Q Any suggestion or advise for upcoming dancers ??

First follow your guru completely, have complete faith in your guru and the guru will bring you to a point where you will think for yourself. Nowadays people start questioning very fast because they are in a hurry Everything else they do is quick quick quick, in art it doesn't work this way, so if you have a sensitive guru you will follow the right path. Even if you are not dancing on stage I feel learning dance is an experience itself. Its something that prepares you for life, you learn things like management and sensitivity for everything in life.

Q A typical day of a dancers life would be ??

Firstly I have a light breakfast and then have my rehearsal from 10:30 to 1, then have my lunch and then take class in the evening thrice a week. On my free days I go for concerts.

Diet:

I am a vegetarian, I eat everything. I think if you are strict with your exercise not necessarily yoga just dance warm ups and proper practice of dance you will always remain fit.

Late Professor Vinay Chandra Maudgalya, Madhavi Mud gal's father, was the founder of the famous Gandharva Mahavidyalaya; New Delhi's first and most highly reputed institution for the teaching of Hindustani music and classical dance. She has been teaching Odissi at this institute for many years.

For her contribution to the art, Madhavi Mudgal received the Sanskriti Award and the President of India's award - the 'Padmashri', besides the Sangeet Natak Akademi Award for her contribution to the world of Indian Dance.

For further details you can contact her at
164 Golf Links
New Delhi 110 003, India
Phone/Fax: (91-11) - 24611478
Email:madhavimudgal@yahoo.com
Website:www.artindia.net/madhavi

Interview with Kiran Segal by Shreya Kumar

Kiran Segal
Dance style: Odissi - Jayantika style
Gurus: Guru Mayadhara Raut

Odissi is the guiding force of my life. It is everything for me. I live Odissi I breathe Odissi I think Odissi.

Q Do you feel the investment in classical dance is not as rewarding as it should be ??

I have no complains apart from the fact that at this point of my life and career I do feel frustrated with the fact that I don't have any land that I feel that should have been given to me without even me asking for it. So that I could build an institution and carry on with my work and after me when I am gone there should be others who would be able to carry on my work. What is the use of receiving all these awards and titles? After all they have been given to me because of the fact that I am keeping an ancient dance form alive, and in order to keep it alive it has to come from the next generation and through the disciples that I am producing and of course my teaching and for that you need space.

Q Political involvement in dance

There is political involvement in dance it should be lesser but I also to some extent blame our system in which every bureaucrat or the people who hold the rings in their hands of culture or dance. They have their seat of power for few years and then they are transferred off to somewhere else and like wise somebody else comes into the scene from some other sphere of life or profession and they have no idea of who's who and what's what and I feel that every person who comes into culture or who is in charge of this kind of happening should be briefed but then who will brief him.

Q Audiences for classical dance

I have no comments on that because according to me we have always, that is my institution and me as a solo dancer we've always been very well received we've always had very good audiences whether I do classical folk or what I've been doing recently is taking classical into a contemporary tradition we've had packed houses so I have no complaints in that respect I feel publicity should be right.

Q How did the innovation of classical into contemporary begin ??

I don't do it because I have to do it. I didn't think that these days there is a fashion to do contemporary so let us also do contemporary, it doesn't work with me like this, I do work not because I'm told to do it like this but because I grow into it because it evolves it so happens and then I enjoy my work.

However there is a particular reason. I have a lot of girls and I see also a lot of young dancers, college and school students who are also learning things like jazz salsa, which I feel there is nothing wrong with and many youngsters are under the impression that contemporary work has to be western or has to have a touch of western which I totally disagree with and I feel that our own dance form and its grammar is so strong our movements are so beautiful that we can create contemporary from our classical dance forms which is why I think my most recent presentation came into being and I traveled with it. I received equal appreciation from people of both classical and non-classical backgrounds.

Q Any suggestion or advise for upcoming dancers

Yes, that is not to divert into too many things be very focused. These days parents are always trying to keep their kid occupied, it seems to be a recent phenomenon or happening, fine okay initially one does this just to find out that what is it that the child is interested in or is talented in, but if you keep carrying on then the child's concentration power reduces and also become a scatterbrain.


Kiran Segal has received the 'Padmashree' as well as the Sangeet Natak Akademi Award in the year 2002 She has also received the Indira Gandhi Priyadarshini award in 2000

For any queries she can be contacted at
198 Mandakini Enclave
Alknanda, New Delhi 110019
Phone :011 - 26275368 / 9810621208
Email:kiranodissi@yahoo.com