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Home , Gotipua, Temple dance

October - 2013 Review

Gotipua Dance Tradition in Odisha : An Overview

Chitta Ranjan Mallia

The dance is an age old tradition sprouted It is thus narrated in ‘ Charitamruta’ that; from the seeds of religion and spirituality and not Striyamamatmanamakalpya radharupam bibhabaye from a ritualistic or social base. We find some Aham radheti manmanah kalante lavate gitam. uncertain ties with regard to the specific period of the origin of the Gotipua dancers. But male During the religious discourse Ray dancers with female costumes were the important Ramananda stressed Sakhi Bhava as the best components in the performing arts of Odisha. They means for realizing divine love. The Sahajiya were called in different names like Akhada Pila, Vaisnavas believed in the eternal dalliances of Sangeeta Pila, Dakhini Pila, Nachua Pila or - in the highest spiritual land. Natapila etc. indifferent places and In the eyes of the devout Hindu, setups. But boy dancers with female Radha and Krishna are inseparable either role were performing in Dhuduki in their separate identity or merged into Nacha, Ghodanacha, one. The great exponent of Vaishnava Radhapremaleela, Bharata Leela, cult Sri Chaitanya always conceived Ramaleela, Prahalad Natak, Radha and Krishna merged Suanga and in Jatras. into one in his own heart It is undoubtedly a and himself felt the fact that the advent of Sri pleasure and pain which Chaitanya to in early Radha felt due to the love 16th century had stirred the or rejection of Srikrishna socio-religious and cultural or vice-versa. It is true life of the people of Odisha. that after Ramananda and Chaitanya introduced the Sri Chaitanya the doctrine of Madhura Rasa Vaishnavism was in full Upasana or the mode of devotion to Krishna swing in Odisha but the Vaishnavites had not through conjugal love which occupied a prominent approved of dancing by women instead they had place of worship. He popularized the Bhakti preached and practiced the cult of Sakhi Bhava movement and Lord Jagannath at Puri was or offering one’s own self to Krishna as a female identified as Srikrishna. attendant and introduced boy dancers. This dance

55 Odisha Review October - 2013 later had developed its technique, style and those are called Chhai, Chhataka, Chhapaka. presentation. According to Kabichandra Kali Charan Pattnaik For the first time the an erudite scholar on dance and music, a performed by the or Maharis came Gotipua must learn : out of the temple and was performed by those Utha Baitha Thia Chali boy dancers with female garbs in temple precincts Buda Bhasa Bhaunri Pali and on festive occasions though subsequently it Utha : It means to rise up from the sitting pose went to the public and more so for rural masses it and then dance. The dancer at the Bol (Ukuta or became an important medium of entertainment. Vani) of the Mardal rises up from the sitting pose. During this period Vaishnavas took the Baitha : At the Bol or Vani of the Mardal the opportunity of preaching their cult or philosophy dancer bends his knees in equal measure and by adhering to the innumerable lyrics composed dances with the weight of his body set up his by the Vaishnava poets like Kabisurya Baldev waist. Rath, Kabisamrat Upendra Bhanj, Gopal Krushna, Banamali etc. in votive dedication to Thia : It is the standing pose of a dancer at the Lord Krishna and making these Gotipua dancers beginning or during the pauses or at the end of as the medium of their publicity as the singing was the dance. done by the dancers themselves. Most of the (At the beginning of the dance the dancer offers Vaishnava Maths of Odisha patronized the flowers to Gods in the standing pose). This is also dancers and even some of them had their own called Sthai or more popularly Thai in Odia. groups to perform. The Gotipua dance performance was more music oriented than of Chali : Odissi dance is accompanied by the singing of songs by the dancer. The dancer steps dance. forward, while singing in a measured way, and is In the later part of 16th century the Bhoi said to practice Chali. king Ramachandra Dev while reviving the daily Buda : Towards the close of the dance the dancer rituals of the temple which remained suspended for a considerable number of years established lifts his hands above his head and acts as if he is gymnasiums in each street of the town to immersed in feelings. encourage physical culture in order to protect that Bhasa : This is a movement of the dancer by temple from intruders. The gymnasiums known bending the body alternately to the right and the as Akhadas also served as nurseries for all cultural left sides and acting with the hands. It appears activities. Here the were trained. That like swimming. is the reason why these Gotipua dancers were Bhaunri : While practising this, the dancer called as Akhada Pilas. Later they received revolves in such a manner and so quickly that his patronage from the Zamindars, some of whom body is not discernible. maintained their own troupes. During the last part of the 19th century there came in a large number Pali : This is the back-stepping of the dancer while of professional groups. The Gotipua dance has dancing. some distinctive poses, movements, gestures and Besides the above mentioned poses and postures (Bhangis). Literally in pure Odia term movements, the Gotipuas were practising

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‘PARIJA’ which means Acting : As we know like While accepting boys to the Gotipua art present Odissi dance Gotipua dance has also 4 form two things are taken into consideration parts technically known as ‘Angika’, Vachika, though not strictly, one is the willingness of the Aharya and Sattwika. parents and the other is the interest, may be he is Angika means movement of limbs to express ignorant of what Gotipua means to him but it was some feelings. not an outright imposition or suppression of his feelings of nostalgia besides the appearance of Aaharya means dressing etc. of the body. the boy. Vachika means conveying the feelings by means The training of the dance normally starts of words. at a very tender age of 5 to 6 or 7 maximum, Sattwika means outwardly reflecting innermost when their limbs are soft and adopt flexible forms. feelings. It is a traditional Gurukula system. The boys have to stay in the ’s home and Guru The Angika, i.e. acting during dance is known as provides free boarding and lodging and academic Parija or Lakshana. education etc. Selection and Training of Gotipua In the early morning the Gotipuas were The selection of small boys to the Gotipua practicing Galasadhan or voice control with the dance stream was and still is a very tough job. basic nuances and notations of Odissi Ragas. Unlike other dance or art forms it has no formal Then they rehearse songs of Vaishnava poets. selection. Infact boys are taken into for this art After that the boys do physical exercises. The form mainly on two grounds. Firstly the boys who Guru prostrates the disciples on the floor and then are very poor and their parents are unable to take massages till oil with deft hands called in Odia care of them even to feed them two times a day “Taila Mardan” and in the process the limbs and the second way is a ritualistic method in which become supple and more flexible to adopt the the parents offer their boys to the Gods hoping difficult acrobatic movements. their well-being, their good health and after all After musical practice followed by their life. Because in those days when children physical exercises the trainees are given substantial fall ill then their only option was to offer their food like “Khecheddi”, rice cooked with Mugdal, children to the God’s and Goddess for Their Chuda (Parched rice), Dahi (Curd), Bananas, services. coconut and to keep themselves fit and The first method was flexible and tenable strong. Then they are sent to the Chatsali or as the boys were either being spotted out by the pedagogy, where they get the opportunity to learn or their representatives or they were being reading and writing. Generally they go up to sent to the Gurus by parents to stay with Guru, primary level in some cases maximum up to M.E learn Gotipua songs, dance and perform and at standard but by the time they go to M.E. standard the same time they were not passing time out of they reach at their retiring point. After coming from hunger. The second method was a complete school they take their food like Khechedi, surrender and not many boys were coming Coconut, Ghee and after little rest they start through this way because this was the last resort practicing the music and dance. In Gotipua dance the parents of the ill children were taking. singing is inevitable by the Gotipua while dancing.

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Bandha Nrutya Gotipuas were being taught to keep both hands The most interesting in a Gotipua dance at both sides of their ears with Mrugasisya . performance is Bandha Nrutya. It is a dance with The practice would initially be very hard which acrobatic poses of the body with suppling of becomes easy later by doing it daily. various limbs known as Bandha in Odia, so Similarly different were being derives the name of this dance. Because of the taught to the Gotipuas though they had a very strenuous and time taking nature the young boys limited Mudras for demonstration like, Pradeepa, aged about 7/8 years are trained to learn this Gabaksha, Tambula, Akash, Pani, Ratri, dance. Elaborate description of this Bandha dance Radhakrushna, Siva, Brahma, Chandra, Surya, is found in Abhinaya Chandrika the treatise on Bajra etc. Odissi dance written by Sri Maheswar Mahapatra th In all the Gotipua groups Bandha Nrutya in 15 century A.D. and in ‘Sangeeta Darpana’, was not being found, but in troupes from a treatise on dance and music by Chatura Dimirisena it was abundantly found. Out of two th Damodar Mohapatra in 16 century A.D. boys in Gotipua troupe one had to perform Abhinaya Chandrika enumerates ten varieties of Bandha and accordingly he was being dressed Bandhas. They are Gagan, Dwimukha, Torana, with Kachhi, a typical wearing of saree and Khosa Shayana, Khuddra, Trisula, Brutanga, Damaru, (Hair style) and other with Ghera and normal Pradipa and Mithunasraya. There are some which dress with Beni (Hair style) as he was to perform are found in oral tradition in Gotipua and are Abhinaya. Tahia with Ketaki flower was also in known as Chira, Nahunia, Mayura, Chara vogue and the Beni (hair style) was in practice till Mayura, Sagadia and Olatachit. 1955 as recalls Guru Birabara Sahoo. In the afternoon at about 4 pm the Make-up and Costumes : Gotipuas were practicing with musical accompaniments. At the outset the Gotipuas were Abhinaya Chandrika also refers to make- being trained with Padasadhana, typical practice up and costumes required for Gotipua dancers. with the feet and legs. Originally Haldi and Kumkum were used by the Gotipuas. Subsequently the make-up involves a Like it is said in Odia buff colour base in powder form which is applied Chata Kada, Tak on the face; collyrium is used to darken and Chauka Kada Tak elongate the eyes and eye-brows. A decorative Panjha Kada Tak pattern called ‘Gorachana’ of a creeper like Goithi Kada Tak design is painted on the forehead and encircles After that ‘Arasa’ is taught. This is a the eye-brows and runs down on to the cheeks. movement of the body and limbs on a particular A beauty spot in the shape of a fly is placed on Ukuta of a . Then “Abalaya” a mixture of the chin. A Tika on Tilak mark on the fore head eye, neck, foot movement was also being also adds beauty to the delicate face. Typical practiced and Gurus were giving much stress on flower arrangement, specially devised for the hair Abalaya. style is called Puspa Chuda in the Abhinaya Chandrika. Two other types of flower This is followed by movement of eye arrangements are Ardha-Baktaka or semicircular (Netra Chalana) without neck movement (Greeba and Katibeni or a single plait hanging down the chalana). For the practice of Greeba Chalana the back.

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A large number of ornaments were most devotional. The Gotipuas also perform on previously used by the Gotipuas, as can be the varied musical aspects of Odissi i.e. Chhanda, gathered from the several names mentioned in Champu, Chaupadi and Chautisa etc. It is these Abhinaya Chandrika. But now a days the dancers Gotipuas who not only sustained the Odissi use very few of them like Chandra, Alaka, Ketaki musical tradition through their performances but used for the forehead. For the ears Kapas are also carried forward and popularized the Odissi worn. Name of necklaces used by them are songs. Chapasari and Padatilaka. The arms are adorned Vadya with Tayita and Kaankan for the wrists. Around the waist are tied Bengapatia, the silver sets and Musical instruments like Odissi Mardal, Kamarpeti of brass. Violin, Harmonium and Gini (Cymbals) were being used. It is known that Odissi Mardal For the costume traditionally the Pattasari has been used continuously since 1956. Even made of indigenous silk of bright colours, generally and Kendera (stringed instrument) were in some shades of red and nine yards in length originally used and the Palias (co-singers) were was worn. The Kanchula or blouse was also of accompanying in singing with Gotipuas. It is a bright colour on which were sewn imitation because of strong initiative taken by the illustrious stones. A length of cloth draped the hips and was singer and erudite musician Singhari Shyam tied in front and was known as Nivibadhana and Sundar Kar amply supported by and truly the curl called Jobha, with teasels at both ends followed by a galaxy of Gotipua teachers and was tied like a waist band, of late the Jobha is not Gurus and scholars, the Odissi Songs got refined in vogue. This costume was similar to that used which appealed common masses. by Maharis or Devadasis, in the past, the difference being in the manner of wearing the sari. Gotipua dance The Pattasari was worn tightly and it had an equal The Gotipua dance has its own repertory length of material on both sides which was caught which starts with Dhyana and Vandana in honour up and tied in a knot near the naval and finally of Lord Ganesh, , Guru and Jananas & anklets are tied by the Guru before he goes for Bhajanas to Lord Jagannath; then Odissi songs the performance. on Radha-Krushna Leela are sung with the Songs : performance of Abhinaya. The songs and dances by Gotipuas during the Chandan and Jhulan The songs sung by the Gotipuas are Yatra of Lord Jagannath at Puri are inevitable. generally the compositions of Vaishnava poets of The Gotipuas perform for 22 days during the Odisha like Kabisurya Baladev Rath, Kabisamrat Chandan Yatra of Lord Jagannath before the , Gopalakrushna, Dinakrushna deities and in the procession. During Jhulan Yatra and Banamali etc. According to Dr. Mayadhar or swing festival the Gotipuas perform before Mansingh, one of the greatest poets and Radha and Krushna in the temple premises and educationists Odisha ever had, mentioned in his in and around Puri. The Gotipuas perform article published in ‘Marg’ in 1960 that “Of many for hours together on the songs of the medieval of these composers of songs three Vaishnava poets. dominate the field. They are Kavisurya Baladev Rath, Gopalkrishna Pattnaik and Banamali Das. Of this trinity Kabisurya is the most musical, Chitta Ranjan Mallia, Secretary, Odisha Sangeet Natak Gopal Krishna the most poetic and Banamali the Akademi, Plot No. - 339, Gautam Nagar, -14.

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