Though it can't be proved with the help of inscriptions and records that Orissa developed an indigenous classical dance of her own, we can do so through observations drawn from the innumerable sculptural representations of dance poses and their clothes resemblance to the descriptions found in ancient treaties on Indian dance.

The question remains as to what the particular style of dance that developed through the centuries in Orissa was. It was the Odissi, as we call it today. Odissi, literally means anything belonging to Orissa. It may be contended that the Oriyas have given a provincial name to the present day improvised art of dancing with attempts to establish it as a classical school of dancing. But in reality, Orissa or Odissa has derived its name from ODRA DESA and similarly the Odissi Nrutya has derived its name from ODRA NRUTYA. Abhinya Chandrika, the treatise on Odissi dance written in 15th century A.D. by Maheswara Mohapatra refers to this art as ODRA NRUTYA.

In Orissa, sheer beauty and charm count foremost in dance. Therefore, Odissi dance is not punditic like Bharat Natyam or intricate like Kathak. In all its movements attempt is always made to bring out an elaborate grace & charm. As the dance once supplied the inner rhythms of harmony to architecture of Orissa which abounds in thousands of dancing images. Odissi is full of sclupturesque poses known as Bhangis. Mostly these Bhangis are based on the Tribhanga (three- bend ) concept of Hindu iconography. This feminine pose is most approved with three bends in the body, the first cause by the crossing of the legs, the second by a curvature at the waist and third by an inclination to the head to one side, generally to the left. This is esteemed the most amatory and graceful, and dancing girls are often represented with these or similar bends. Moreover in pure & decorative item (Nritta) of Odissi where there is no meaning to convey, importance is given to the basic stance Chauka in which the feet are separated so as to make the thighs almost horizontal. In some items sharp & measured movements pre-dominate whereas in some items movements are soft & lyrical. All these combined to build up the consummate artistry, the elaborate grace& ccharm. As the dance once supplied the inner rhythms of harmony to architecture of Orissa which abounds in thousands of dancing images. Odissi is full of sclupturesque poses known as Bhangis. Mostly these Bhangis are based on the Tribhanga (three- bend ) concept of Hindu iconography. This feminine pose is most approved with three bends in the body, the first cause by the crossing of the legs, the second by a curvature at the waist and third by an inclination to the head to one side, generally to the left. This is esteemed the most amatory and graceful, and dancing girls are often represented with these or similar bends. Moreover in pure & decorative item (Nritta) of Odissi where there is no meaning to convey, importance is given to the basic stance Chauka in which the feet are separated so as to make the thighs almost horizontal. In some items sharp & measured movements pre-dominate whereas in some items movements are soft & lyrical. All these combined to build up the consummate artistry, the elaborate grace& charm which remain the fundamental characteristics of Odissi.

The theme of Odissi dance is deeply rooted in religion, the urge is as much spiritual as aesthetic. Hence, each of its has a devotional import. The rich and varied repertory are found together, though in different measures in the different items. A decade ago Odissi was a long single item in which all the climax. For convenience, however, this long item was broken up and thus a number of items were created to constitute the repertory. Odissi is a dance of which every aspect is governed by the Sastras. All its poses, steps and

movements have been classified and codified. With flashes of heightened dramatisation the Bhava is chast & orthodox. In all the items the music is sweet & melodious, pure & classical. Each of its composition is intended to be performed in specific Talas & Ragas as noted by the composers and authors of the texts. Madala (Pakhaja of Odissi style), Ginni, a pair of cymbals and a flute provide the accompaniment. Sometimes, the voiline is added to the ensemble in the place of flute.