Understanding
Rhythm in Odissi Dance Dr Rohini Dandavate
Rhythm is referred to as tala in India. The Merriam Webster Encyclopedia defines rhythm as “an ordered recurrent alternation of strong and weak elements in the flow of sound and silence in speech”. Extrapolating from this definition, it can be said that rhythm is a continuing pattern of sound which has a set structure and pace. Intuitive to the understanding of the rhythm of life and nature people all over the world have moved and danced to the flow of sound and silence, in harmony and in discord. The people in Odisha were no different. In Odisha, a State located in eastern India, Odissi dance and music evolved as a part of the ritual services in the temple, where Maharis (women who dedicated their lives in the service of God) sang and danced telling stories from Indian scriptures and mythologies. The principal percussion instrument used in accompaniment to the dance was the Mardala.
According to historical records, Odisha was conquered and ruled by various kings and dynasties from the neighboring regions. With every changing rule, the State’s geographical borders extended into adjoining areas bringing in different cultural influences and religious beliefs. As a result, the arts of Odisha evolved drawing from diverse influences. Charles Fabri in his article, Introduction to Orissi Dance, wrote “her (odisha’s) dancing is obviously nearer to the Dravidian forms of classical dancing (Tanjore, Melattur, Andhra), the Music that accompanies it is not Karnatak but Hindustani in character”. (Marg, Vol XIII, Number 2 March 1960).
Therefore besides the traditional talas used in Odissi dance, we also see some talas which are close to talas in Karnataki and Hindustani styles of Indian music. The commonly used traditional talas in Odissi are known as Prachalita talas and the not so commonly used talas are known as Aprachalita talas. To help build an understanding of talas used in Odissi dance, it is essential to learn the Odiya terms that are used to identify and notate each tala pattern. In the following sections of this paper, I will define the termins used in discussing tala and explain the basic tala patterns.
2 Bols: Syllables used in the composition of a tala are known as Bols (in Odiya language). These Bols have no meaning but resemble the sounds produced on the mardala. Maharis passed on the bols to the Gotipuas, some of who became Gurus of Odissi dance.
The study of tala for an Odissi dancer begins with the training of the basic steps in the positions of Tribhangi and Chowka, the two main postures of the Odissi dance style. Basic dance steps are practiced along with the recitation of the Ukutas (phrases of Bols or syllables), which are counted with combinations of gestures like a clap, a wave of the palm and fingers. During the training sessions Gurus recite the bols with the playing of the mardala.
Names of fingers: The nomenclature for fingers in Sanskrit language is given below. The same names are used while counting tala.
In Oriya In English
1. Angusht Thumb 2. Tarjani Index finger 3. Madhyama Middle finger4 4. Anamika Ring finger 5. Knishtha Little finger
Bhaga and Anga: Every Tala is made up of cyclical rhythmic patterns, subdivided into sections known as Bhaga, and Anga is the use of physical gestures to keep track of the structure of the tala, which can be of varying lengths and speed. The beats (units or syllables) in each segment of tala are counted by using the following 6 kinds of Angas:
1. Anadruta – 1 beat and the symbol is U. It is a clap of the hand
2. Druta – 2 beats and the symbol is o. it is a clap of the hand followed by a wave of the hand
3 3. Laghu – 4 beats and the symbol is I. It is a clap of the hand followed by counting of the fingers; these counts could vary from 3 to 4 to 5 to 7 to 9, based on the jatis i.e. 3 counts=tishra jati, 4 counts=chatusra jati, 5 counts=khanda jati, 7 counts=mishra jati, 9 counts=sankirna jati.
4. Guru – 8 matras 5. Pluta – 12 matras 6. Kakapada – 16 matras
Though there are six Angas, the three most commonly used Angas in talas employed in Odissi dance are combinations of Laghu, Druta and Anadruta. E.g. Jhampa Tala combines Laghu, Druta and Anadruta and Eka Tala is made up of just Laghu.
Laya: Laya refers to the speed or tempo in which a tala is recited or played on the mardala. The tempo of the recitation of the Bols (syllables) can be in Vilambit laya (Slow tempo), Madhya laya (Medium tempo) or Dhruta laya (Fast tempo). Typically, in a dance number the fundamental tala continues to be the same while a change in the tempo for recitation is incorporated. The concept of laya is introduced early on in the training while learning the basic dance steps set in the tribhangi and chauka positions. These dance steps are performed in three speeds or tempos by doubling and redoubling the tempo in recitation of the bols. This doubling or redoubling of the speed is called as Laya Kriya. Given below is an example of a tala (Ekatali) in three speeds.
Example of Laya in Eka tali
Vilambit laya
Clap Index finger Middle finger Ring finger
Ta Ri Khi Ta
Madhyam laya
4 Clap Index finger Middle finger Ring finger
Ta ri khi ta Ta Ri Khi Ta
Dhruta laya
Clap Index finger Middle finger Ring finger
Ta Ri Khi ta Ta Ri Khi Ta Ta Ri Khi Ta Ta Ri Khi Ta
Matra & Kala: Each unit in a phrase of syllables is called matra. In the example given above the count of matras in each cycle of the tala are four. Each matra is also referred to as Kala. Generally the first matra is referred to as guru and the following matras in the phrase are referred to as first kala, second kala etc. e.g. In Ekatali tala Ta ri khi ta – Ta is referred to as guru, ri is the first kala, khi is the second kala, and ta is the third kala. So ekatali tala has one guru and 3 kalas. Kala is just another way of counting the syllables in a tala pattern.
Ansa: In Odissi music the word ansa refers to the point from which the song begins in the tala pattern. E.g. If the dance is set to Ektali tala, the singer can begin the song from the first, second, or in the third kala or even from guru.
Barna, bani or Pata: Syllabic representation of music on the mardala is known as barna or pata. E.g. ta, da, Ka or ta. These words are also known as bani.
Ukuta: Syllables (e.g. dha, ta, dhi, jham, jhena) strung together to form a basic rhythmic phrase is known as Ukuta.
Dharana: When a group of syllables are set in a tala and played on the mardala following a certain flow & tempo it is referred to as dharana or theka. e.g. in Jhampa tala Dhati naam dhaga dhati naam Tati naam dhaga dhati naam
5 Chanda: is the way in which the syllables are divided. E.g. Both Rupak Tala and Khemta Tala have a total of 6 beats but the division of the syllables differs and it is as follows: Rupak Tala – 2+4 while Khemta Tala is 3+3 Chanda is that element which provides the flow to the words in the song and the syllables in the rhythmic pattern.
Sam: The first Matra (syllable or note) from where the tala phrase begins is known as Sam. The symbol for Sam is an X. The Sam in a tala phrase can be called guru, the first Matra (count) of the Tala.
Tali: The clap in a tala phrase is known as Tali. The Pratham Tali in a tala phrase is also known Sam.
Khali: This word in the Odiya language means an empty space. In the counting of Matras or Syllables in a rhythmic pattern, when an empty space or count is added to set the meter in recitation, that empty space is considered as a count and is called Khali. The symbol used to denote a Khali is: O.
Abagraha: The symbol used to denote an Abagraha is S. In writing tala Abagraha is used to extend or fill in for the syllables to complete the count. E.g. Tala- Eka tali Matra- 4 There is no Khali TaSSSS StiSSSS Nakadataka Takadhini
Avartan: One cycle of a phrase of syllables is called an Avartan. E.g. Dhi Na Ta Kita I It is often repeated a number of times in a dance number and the symbol used to denote completion of each cycle of syllables is: I
6 Mana, Muktai or Tihai: The concluding phrase of syllables repeated three times in the same tempo in a dance number is referred to as Mana, Tihai or Muktai. and when the very last syllable ends on 'Sam' e.g. Kittitaka tingine thei Kittitaka tingine thei Kittitaka tingine thei
Other commonly used phrases are: Dha di gine dha Tingine dha Dhaa tingine dhaa Dhaa kadataka dhadigine Jhena kadataka dhadigine dhaa
Jati: Jati indicates the Laghu counts varying from 3-9 and are of the following types: 1. Tisra Jati has 3 beats 2. Cathurushra Jati has 4 beats 3. Khanda Jati has 5 beats 4. Misra Jati has 7 beats and 5. Sankeerna Jati has 9 beats
The 7 parent Talas: Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, Eka can incorporate one of the 5 Jatis. Table 1 on Sapta tala shows the 7 parent talas in 5 jatis making a total of 35 talas.
Gati: can be described as pulse in a beat or matra. The number of pulses in each beat or matra changes depending on the laya. Elizabeth Hanley in her book Asian Dance explains gati as:
7 ” the numerical relationship between the pulse and the beat, i.e. how many places within each beat there are to sing a note, strike the drum, slap the foot, etc.” . E.g. The five main Gati’s are Tisra, Catusra, Khanda, Misra and Sankirna. Gati is practiced at increasing speed within each mathematical ratio” 1. Tisra gati: 3:1 6:1 12:1 etc. (three subdivisions of each beat, doubled and redouble repeatedly) 2. Catusra gati: 2:1 4:1 8:1 16:1 (two subdivisions, double/redouble) 3. Khanda gati: 5:1 10:1 20:1 etc. 4. Misra gati: 7:1 14:1 28:1 etc. 5. Sankirna gati: 9:1 18:1 etc.
Traditional Talas: The traditional talas as mentioned in the Odissi Path Finder (Vol 1) are: 1. Ektali 2. Khemta 3. Tripata 4. Aditaal 5. Adatala 6. Jhampa 7. Ardhajampa
1. Ekatali- Each Avartan (cycle) of 4 Matras is counted with one clap and three finger counts. It has one Bhaga (section). The Dharana (basic phrase) is as follows: 1 2 3 4 Ta Tathi Naka thini I
8 2. Khemta tala- Each Avartan of 6 Matras has 2 bhagas. The division of the units is 3+3. Counting begins with a clap and two finger counts followed by a wave of the hand (khali or empty space) followed by two finger counts. The Dharana is as follows: 1 2 3 4 5 6 Dha Ti NDa I Ta ti NDa I
3. Tripata tala- Each Avartan of 7 Matras has 3 Bhagas. The division of units is 3+2+2. Counting begins with a clap and two finger counts followed by clap and wave, clap and wave. The dharana is as follows: 1 2 3 4 5 6 7 dhai tathin daka I tathin daka I tathin daka I
4. Adi tala- 16 Matras (4+4+4+4) e.g. 1 2 3 4 5 6 7 8 Dhei Tathi Naka Thini I Naka Thini Naka Thini I 9 10 11 12 13 14 15 16 Tei Tathi Naka Thini I Naka Thini Naka Thini I
5. Adda tali – 14 Matras (4+3+4+3) e.g. 1 2 3 4 5 6 7 Dha Dha dhi na I dha dhi naa I 8 9 10 11 12 13 14 dha kadataka dhi na I ta dhi na I
6. Jhampa tala- Each avartan of 10 matras has 4 bhagas. The division of units is 2+3+2+3. Counting begins with a clap and wave, clap and two finger counts, clap and wave, clap and two finger counts. The dharana is as follows: 1 2 3 4 5 Dhati Naam I Dhaka Dhati Naam I
9 6 7 8 9 10 Tathi Naam I taka dhati naam I
7.Ardha Jhampa Tala- Each Avartan is 5 Matras and has 2 Bhagas. The division of units is 2+3.Counting begins with a clap and wave, clap and two finger counts. The Dharana is as follows: 1 2 3 4 5 Dhati naam I Dhage Dhati Naam I
More talas namely Rupak Tala, Sariman Tala, Kuduk Tala, Yati, Asta and Matha Tala are also used.
In “Tala Sarbasara Sangraha”(1896 AD) the author, Padmanava Narayan Deva, writes that the seven tala system which is predominantly used in the Karnataka style of music and dance, evolved from the tandava dance of Lord Shiva. Odissi dance borrows some of the rhythmic patterns from the Sapta Tala system which is as follows: Table 1: Sapta Tala
Representation Talas Jatis in Symbols
Tishra Chatusra Khanda Mishra Sankirna
Dhruva 3+2+3+3=11 4+2+4+4=14 5+2+5+5=17 7+2+7+7=23 9+2+9+9=29 IOII
Matya 3+2+3=8 4+2+4=10 5+2+5=12 7+2+7=16 9+2+9=20 IOI
Roopaka 2+3=5 2+4=6 2+5=7 2+7=9 2+9=11 OI
Jhampa 3+1+2=6 4+1+2=7 5+1+2=8 7+1+2=10 9+1+2=12 IUO
Triputa 3+2+2=7 4+2+2=8 5+2+2=9 7+2+2=11 9+2+2=13 IOO
10 Ata 3+3+2+2=10 4+4+2+2=12 5+5+2+2=14 7+7+2+2=18 9+9+2+2=22 IIOO
Eka 3 4 5 7 9 I
Categories Tisra Jati Caturasra Khanda Misra Jati Sankirna of Tala 3 beats Jati Jati 7 beats Jati 4 beats 5 beats 9 beats
Dhruba tala One clap, 2 One clap, 3 One clap, 4 One clap, 6 One clap, 8 1Laghu finger, clap finger, clap finger, clap finger, clap finger, clap 1Drutam and wave, and wave, and wave, and wave, and wave, 1Laghu One clap, 2 One clap, 3 One clap, 4 One clap, 6 One clap, 8 1Laghu finger, One finger, One finger, One finger, One finger, One clap, 2 clap, 3 clap, 4 clap, clap, 8 finger finger finger 6finger finger (3+2+3+3) (4+2+4+4) (5+2+5+5) (7+2+7+7) (9+2+9+9)
Matha tala One clap, 2 One clap, 3 One clap, 4 One clap, 6 One clap, 8 1 Laghu finger, clap finger, clap finger, clap finger, clap finger, clap 1Drutam and wave, and wave, and wave, and wave, and wave, 1 Laghu One clap, 2 One clap, One clap, 4 One clap, 6 One clap, 8 finger, 3finger, finger, finger, finger, (3+2+3) (4+2+4) (5+2+5) (7+2+7) (9+2+9)
Rupak tala Clap and Clap and Clap and Clap and Clap and 1 drutam wave, wave, wave, wave, wave, 1 Laghu One clap, 2 One clap, 3 One clap, 4 One clap, 6 One clap, 8 finger, finger, finger, finger, finger, ((2+3) ((2+4) ((2+5) ((2+7) ((2+9)
11 Jhampa One clap, 2 One clap, 3 One clap, 4 One clap, 7 One clap, 8 Tala finger finger finger finger finger count, clap, count, clap, count, clap, count, clap, count, clap, 1 Laghu clap and clap and clap and clap and clap and 1.anadrutam wave wave wave wave wave 1.drutam (3+1+2) (4+1+2) (5+1+2) (7+1+2) (9+1+2)
Atta tala One clap & One clap & One clap & One clap & One clap & 1Laghu 2 finger 3 finger 4 finger 6 finger 8 finger 1Laghu counts counts & counts counts counts 1Drutam & One clap One clap & & One clap & One clap & One clap 1Drutam & 2 finger 3 finger & 4 finger & 6 finger & counts & counts & counts & counts & 8 finger clap and clap and clap and clap and counts & wave & wave & wave & wave & clap and clap and clap and clap and clap and wave & wave wave wave wave clap and (3+3+2+2) (4+4+2+2) (5+5+2+2) (7+7+2+2) wave (9+9+2+2)
Ek tala One clap & One clap & One clap & One clap & One clap & 1 laghu 2 finger 3 finger 4 finger 6 finger 8 finger counts counts counts counts counts (3 beats) (4 beats) (5 beats) (7 beats) (9 beats)
In Odissi dance, Khandi is the smallest unit of dance. It comprises a phrase of syllables set to a particular Tala. The example given below is made up of two
Laghus (8 beats) in Chaturasra Ektali (a four beat cycle)
1 2 3 4
Clap index finger middle finger ring finger
12 Taka dha dhagine ta (I)
5 6 7 8 takadataka ta dhagadigene dha (I)
Arasa, in comparison to a Khandi, is a longer rhythmic composition in a given Tala, and its length may cover one or more cycles of the chosen Tala. Arasas are usually repeated three times and end on the first beat of the following cycle, which is known as Sam.
Lastly, this paper is an introduction to understanding the rhythms used in Odissi dance. This list of talas is not exhaustive and there are additional terms relating to tala that are not included. Further information can be read in earlier texts and manuscripts like the Abhinaya Darpana by Jadunath Sinha, which discuss ten kinds of tala, the Natya Manorama by Raghunath Rath, which includes examples of talas, and the Abhinaya Chandrika which discusses ascertaining of talas in the section on dance. More recent Odiya publications, namely Sangeet Sangya by Ramahari Das (1996), and Mardala Bigyan (2001) by Jagannath Kunwar, include chapters on talas in Odissi dance.
In conclusion, I would like to mention that in the reconstruction process of the form, while the basic vocabulary and technique of the Odissi dance style followed the paradigms mentioned in the Natya Shastra, Gurus and scholars depended on regional texts and manuscripts for preserving the uniqueness and flavor in the form. Dance numbers in the Odissi dance repertoire continue to be set to traditional tala patterns.
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Maestros: Guru Banamali Maharana and the Late Guru Kelucharan Mohapatra:
References
1. Das, Ramahari (1996). Sangeet Sangya. Kaishiki Publications, Bhubaneshwar. 2. Kunwar, Jagannath (2001). Mardala Bigyan.Minati Bhanja, Bhadrak. 3. Sahoo, Itishree (2009). Odissi Music 4. Odissi Pathfinder Vol 1(1988). Odissi Research Center, Bhubaneswar. 5. Descutner, Janet W. (EDT)/ Hanley, Elizabeth A. (2010). Asian Dance. Chelsea House Pub (L) 6. Anand, Mulk Raj (Ed.) (1960). Marg Magazine. Marg Publications,Mumbai. 7. Pathy, Dinanath (2007). Rethinking Odissi. Harman Publishing House, New Delhi.
14 Websites:
Orissa Reference Annual 2005orissa.gov.in/e- magazine/orissaannualreference/ORA-2005/pdf/odisi_dance.pdf
Personal Notes: The Ukutas and tala patterns are from the class notes given by my Gurus during training in Odissi dance in Kala Vikas Kendra, Cuttack. My Gurus were Guru Kelucharan Mohapatra, Guru Raghunath Dutta and Guru Ramani Ranjan Jena.
Acknowledgment: Rahul Acharya, leading Odissi exponent Shri Ramprasad Ganavarappu, leading Mardala player
Author
Rohini Doshi-Dandavate holds a doctoral degree in Cultural Policy and Arts Administration from the Ohio State University and presently resides in San Francisco, CA. She earned her graduate degree in Odissi dance from Kala Vikas Kendra, College of Indian Dance and Music, Cuttack, India. Her gurus are Guru Kelucharan Mohapatra, Guru Raghunath Dutta, Guru Ramani Ranjan Jena, and Dr Menaka Thakkar.
As an artist in the Arts in Education Program of the Ohio Arts Council, she has conducted workshops and lecture demonstrations in Odissi dance for students in schools and colleges in Ohio since 1994. She offers courses in Odissi dance in educational institutions and community organizations. Rohini’s research papers/articles are posted at www.scribd.com/rohinidandavate
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