Odissi Traditional Dance Items & Sequence (Repertoire):
Manglacharan
This is the first dance in the odissi reportoire and a particular style of the dance where permission is sought from the Gods through stamp on the Earth.
This is performed in three sections:
Bhumi pranam (Regards to earth)
Bandana (Prayer)
Sabhapranam (Regards to Gods, Gurus and Audience)
Stayee/Battu
This is the second level of the reportoire, also known as Sthayee Nritya. The dance is composed of repeated rythmic syllables and series of sculpturesque poses from the walls of temples of Orissa, for example darpan (looking at oneself in the mirror) and alasa (a pose of relazation).
Darpan
Pallavi
Pallavi literally translates to the elaboration of one's feet or "pure dance" and this is illustrated through the dance with the slow rhythmic footwork which gradually increases to rigourous footwork and quick tempo. Unlike Stayee, Pallavi portrays the beauty of odissi dance as it shows the graceful, flowy and liquidlike movement of the torso along with the precise footwork.
Abhinaya
Abhinaya greatly emphasizes numerous emotions or expressions to convey the meaning of the song and what the dancer may be trying to portray. In this dance, the dancer evokes emotions from the audience by making them laugh, cry and feel fear depending on his/her postures or mudras.
Moksha
Moksha is the last dance in the odissi reportoire and it is the moment when the dancer becomes one with the dance. It is interpreted as one of the four aims of life, such as religion, property, inclination and salvation is to be combined with one's soul. In this the dancer is released from all bonds and is "free" in terms of spiritually liberated and at peace.
