PAPER 5 DANCE, POETS AND POETRY, RELIGIOUS PHILOSOPHY AND INDIAN CLASSICAL DANCE

MODULE 11 SAHITYA, KAVYA AND GEETA OF

All the fine arts are interdependent & to each other. Sometimes they are segregated to concentrate on their individual growth & enhance their richness. But they evolve collectively. Music, Drama, Dance & Literature are inseparable & interdependent.

Most of the dance treatise classified dance in three categories: Natya, Nritta & Nritya. Nritta is the dance which is always embellished with ornamental had gestures & postures with supportive music without a song. Nritya is expressional dance and performed to convey the meaning of a theme through codified meaningful hand gestures (Mudra), suggestive facial expression (Bhava / भाव) & symbolic poses (Bhangi / भॊगी). Natya is predominated by the elements of drama such as dialogues or spoken words in addition to the Nritya & Nritta in it. Both Nritya / न्रित्य & Natya / ना絍य are dependent on Vachika / वाचिक & Aharya / आहायय Abhinaya / अभभनय and expresses itself through Angika / अॊचगका & Swatika Abhinaya / सात्त्वक अभभनय.

The importance of Vachika abhinaya is understandably lot more than other three abhinayas. Words with proper punctuations & modulation reach the spectators in no time. Sometime even if they don’t see the characters they follow the story hearing, the dialogues only. It is said Vachika Abhinaya is the king & other abhinayas follow

1 it. The accompanying song (geeta / गीत) can be considered as Bachika Abhinaya in dance.

Dance follows Vadya, But Vadya Follows Geeta. Nrittang Badyanung Proktang Badyang Geetanubarticha न्रितॊग ब饍यानुॊग प्रोक्तॊग गीतानुबन्रतिय ा- Sangeet Ratnakar

Tasya Geetasya Mahatmya ke Prasangsitumishate तस्य गीतस्य महात््य के प्रसॊगभसतुभमशते Dharmarthya KamaMoskhyana midamebaik sadhanam धमयर्थयय काम मोक्ष्याना भमदामेबैक साधनॊ – Sangeet Ratnakar

It is not easy to describe the magnitude of songs. It is the only method to accomplish Dharma, Artha, Kama and Mokshya.

This was known to our ancestors so they have given due recognition to language. Natyashastra, the bible of Drama & Dance dealt extensively on Bachikabhinaya & Chhandobhinaya / छॊदⴂअभभनय in th 14 Chapter. Bharatamuni explained Bachikabhinaya bibhaga / बचिकभभनय: Akhyat kriya / अख्यात क्रिया (Dhatu / धात),ु Nama / नामा (Sangya / सॊऻा), Upasarga / उऩसगय, Nipata / न्रनऩटा, Taddhita / तात्धधत, Sandhi / सॊचध, Bibhakti / बबभत्क्त & Samasa / समसा. It has also described Bruta / ब्रुत & Chhanda / छॊद, which are the most essential element to write poems.

The poems are wonders of literature, when sung tunefully, become appropriate medium to express in dance. The poems are sung

2 tunefully & rhythmically. Incidentally the rhythmic structure of a taal depends on the chhanda or configuration of the letters (matra / मॊत्र) & Jati pata / जाती ऩता . The meaning of the words (Sabdartha/स녍दाथय), total connotation of the poem (Bhabartha/भावाथय), rhythmic configuration of words (Jatipata) & the matching of dhwani / धवनी (sound) with words which produce same type of sound (Anuprasa or alliteration) and the modulation of the voice (gamaka / गमका) make the poems – Song (Sangeet / सॊगीत). Oriya poetry is a treasure of lyrical beauty, loaded with musical extravaganza, noteworthy imagination best suited to choreograph in Odissi dance.

Odissi Dance owes to the poems for its expressional Dance-- Abhinaya. (Odissi dance repertoire is segmented in to five items--- 1. Mangalacharan / मॊगऱािरण, 2. Bottu or Sthayee Nritya / बोट्टू अथवा स्थायी न्रित्य, 3. Pallavi / ऩ쥍ऱवी, 4. Abhinaya & 5. Mokshya / मोक्ष्य)

Odiya songs are the lyrical expression of rhythm – or chhanda. Without chhanda poems cannot be composed. This peculiar quality differentiates prose from poetry. Biswanath Kaviraj in his treatise Sahitya Darpana wrote – “Chhandobandhang padang padyam / छॊदⴂबॊधॊग ऩदाॊग ऩा饍यॊ”.

Rhythm is the natural swing or alternation of some quantitative difference (stress, duration, Pitch,, silence) that accompany all flow of meaningful sound. – Dictionary of world literary terms. – Ed-J .T. Shipley P.278

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We see mention of word Chhand in Rig Veda. According to etymology the word Chhand is derived from – Chhand Dhatu which means to cover, to be delighted in, to please etc. Chhand is accepted as Vedanga - one of the six angas of Veda, also considered as the pada (feet) of Veda. (“Chhandah Padau tu Vedasya / छन्द् ऩादौ तु वेदस्य”.) There are many treatises which elaborately dealt with the science of Chhand. (Chhand Sutra – by Pingala, Chhand Sastra—by Halayudh, Chhand Manjari - by Khemendra, etc.) Oriya Bruta has been written by Narayan Purohit as evident from the gazette of Hunter as follows - Bruta Ratnakar, a treatise on versification written in a kind of verse called Chhanda, Orissa- William Hunter (1872).

The commonly used Chhanda are divided in to two categories--- Matrika & Barnika / माबत्रक तथा बन्रनयक. Again these are subdivided.

Matrika - each letter of the vernacular alphabet is distinguished with certain number of matra. Accordingly all the vowels & consonants are measured with one matra. If the consonants are with akar, ekar, Chandra bindu, anusar, etc. then their valued are two matra. Again the letter before the juktakhyara / जुक्ताख्यारा will also be valued as two matra. During the composition of the poems care is taken to match the total matras of each line.

Barnika Chhand is also known as Akshyara Bruta / अऺर ब्रुता. Here the numbers of the letters the alphabets are taken in to consideration to match the lines.

Chhanda can be Sama / सम. Asama & Bisama / असम तथा ववषम. If the motion of the song is in two letters then it is Sama, if three

4 letters /matra then it is Asama and if it is combination of two & three letters then it is considered Bisama.

Jati is another factor which accounts for the composition of poems. It is important that the sounds of the last word of the line matches with the last word of the other line. It is called Pranta Milana / प्राॊत भमऱन. When the tongue takes voluntarily rest, then is called Jati.

“Jati Jrinhestha Bishram Sthanang Kavibhiruchyate Sa Bichhed Biramadeih Padarbachya Nichechhaya” - Chhandomanjari – Ganga Das 1- 18 “जाती त्िन्हेस्था बबश्राम स्थानाॊग कववभभ셁楍यते स बबछेद बबरमादद् ऩदाबय楍या न्रनिेछया छॊदⴂमॊजरी-गॊगा दस १-१८ According to the Jati pata The chhanda are named as – Yukta Akhyarika Chhanda / युक्ता अख्याररक छॊद , Chalana Pradhan Chhanda / िऱाना प्रधान छॊद , Mukta Chhanda / मुक्त छॊद , Amitrakhyara Chhanda / अभमत्रख्यारा छॊद, Upadha Milana / उऩधा भमऱाना छॊद, Ekantara Mitrakhyara / एकान्तर भमत्रख्यारा, etc.

In the Chhanda/ Chhaanda word has many connotations :  As it was described it is the structure of the poem constructed with letters & words giving due privilege to the numbers of the letters & its matras also where to rest etc.  It also refers to the whole composition of songs. Odiya poets have named their poems as Chhaandas. Example – Jagamohana Chhaanda – Dinakrushna, Chhaanda Bhushana - , Chhaanda Bharat- Keshab Pattanayak etc.

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 Chhaanda is also considered a typical style of .

The taal pattern of the song is directly dependent on the Jati pata & configuration of words and letters. As a result there evolved many Chhanda Brutas.

Adi kabi ’s Sarala Mahabharata was based on Dandi Bruta. This is a bruta like the earlier compositions of Charya Geeti, does not require to have same matra (Barnik or Matrik) in each line, though the words at the end of the lines matches. This is managed by the singer while singing. The singer takes more time with proper notes & gamakas when there are less words and when there are more words he sings it fast.

Example: Jujhesthi deba bole se daya mote kala / जुझेस्थी दबा बोऱे से दया मोटे कऱा Duryodhan bole se mote bahar karidela / दयु ोधन बोऱे से मोटे बहार कररदेऱा Apamana paina mu tanhu aili / अऩमाना ऩैना मु तनहू एऱी Barunabanta tharu ethaku lata kataili / ब셁नाबॊता था셂 एथाकू ऱता कान्रतऱ Akhadae diaili pallira duare / अखाड़ े ददईऱी ऩत्쥍ऱरा दआु रे Mritika drone thapi sadhili Samare / मन्रृ तका ड्रोन थाऩी साचधऱी समरे - (Sarala Mahabharata/सरऱ महाभारत)

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Jagannath Das’s odiya Bhagabata is written in Nabakshyari Gurjari Bruta. It is also known as Kalhar Bruta. Each line consists of nine letters or Akhyara. Two lines make one Pada.

The smallest Bruta is Nalini Gauda Bruta. The brutas used in odiya poems used for dance are Basanta Bruta, Kalyana Ahari Bruta, Kamodi bruta etc.

When the poems are sung tunefully it becomes Song.

The Songs or Geetaare more are classified in to two categories- Anibaddha & Nibaddha Geeta  Anibaddha / अन्रनबधध is free from taal & other bindings. It refers to the Aalap without rhythm.  Nibaddha Geeta is bound by taal and embellished with dhatu and anga.

There are four Dhatu / धातु ( Dhatu Chatrubidhah – Udgrah, Melapaka/ Dhruba Bhoga iti / धातु ित्रबु बध् – उ饍रह, मेऱाऩक,ध्रुबा भोग इन्रत). Druba Pada or Sthira Pada (Ghosa) is repeated again & again. Udgraha is the first part of the song. Melapaka keeps connection with other stanzas. Abhga is usually the last stanza where the poet’s name is mentioned also called bhanita.

The six angas are – Pada, Gamako, Biruda, Tena taal, Pata and Swara. The jaatis are ascertained according to the number of Angas. (There are five jatis – Medini / मेददनी, Nandini / नॊददनी, Dipini / ददवऩनी, Pabini / ऩबबनी, Tarabali / ताराबऱी)

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Gamako / गामको, Biruda / बब셁द, Tenaka / तेनका, Saptaswar / सप्तस्वर, Pata / ऩता & Taal / ताऱ are the six limbs of Prabandha Geeta / प्रबॊध गीत. Pada / ऩद, Biruda & Tenaka / बब셁द तेनक deal with words & language. Tenaka refers to Mangalabachaka Sabda or auspicious words. Some of the words & letters are known to have power in them termed as Mantra & when recited or listened provide happiness & peace. They are also known to provide strength & cure diseases.

Nibaddha Geeta is again divided in to three kinds. They are Suddha Geeta, Chhayalaga Geeta & Khsyudra Geeta

The language of the poem either can be Sanskrit, Prakrit, Apabhransa, Odiya or any regional language.

“Dibya Sanskrutaya Bacha Margatalena Geeyate Manushi Prakrutagira Deshi Talen Nirmita Dwayormishrayanadukta Matryka Dibya Manushi.”

“दद녍य सॊस्कृ त्य बिा मागतय ाऱेन गीयते मानुषी प्रिु ताचगर देशी ताऱᴂ न्रनभमतय 饍वायोभमश्रय यानादकु ता मत्र्यका दद녍य मानुषी.”

Prabandha Geeta is composed in Dibya or Sanskrit Language in Marga Taal, Manushi or Prakruta Language & Deshi Taal or the combination of the both.

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In Odissi Music we find the use of Dhruba Padanga, Raganga, Bhavanga & Natyanga.

 Dhruba Padanga / ध्रुबा ऩदॊगा songs restrict itself to the use of one raag & one taal. Elaborate description with devotional spirit Dhruba Padanga songs give due importance to Veera Rasa / वीर रास. The thematic aspect of these Prabandha is only in the praise of Gods & Godesses. It starts with Aalap in different laya. But Nibaddha Aalap & taan do not feature in this type of Prabandha Geeta. Ituses Nam Toma like auspicious words known as Tenaka. Taals like Sariman, Kuduka, Matha etc. are used. They are named as Malashree Geeta / माऱाश्री गीत, Matha Geeta / मथा गीत, Kuduka Geeta / कु डुका गीत, etc.

 Raganga / रागाॊग: This is the most important item of Odissi Music. It is performed with one particular Raag and taal maintaining all the discipline this is sung in the order of Annibaddha Aalap, Prabandha, Nibadhha Aalap, Pada Vinyas, Swara Vinyas / स्वर ववनय, Taan / तान. Pallavi also features in this items. It is two types Badya Pallavi & Swara Pallavi. When bols or Ukutas are sung rhythmically with various laya is called Badya Pallavi. When in the place of Bols or Ukutas Sapta swara are used it is called Swara Pallavi.

 Bhabanga / भाबॊगा: In this kind of songs due importance is given to the Bhava & Rasa than raag & taal. It is performed in the traditional way & some times more than one raga is used according to the theme of the song.

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 Natyanga / न絍यान्ग: These kinds of songs are performed keeping the drama element in it. This is used in the dances. Taal’s variation is prominent feature as well it is always based on Shringar Rasa. Pada Vinyasa, Swara Vinyasa & Tana are also feature in this type of songs.

Kavi Samrat Upendra Bhanja has written in his Rasa

“Ruchya Boli, Chhanda, Chautisha, Chaupadi, Dhaga Pancha bidha Geete thiba Rasa panchaka Barnare Barnana hebaru Rasa Panchaka Bolaiba” “셁楍या बोऱी, छॊद, िौन्रतश्य, िौऩादी, धागा ऩॊि बबधा गीते थीबा रासा ऩॊिक बनायरे बणयना हेब셂 रासा ऩॊिक बोऱैबा”

Taking in to account songs used for dances are Geeta Govinda, Chhanda, Chautisha, Champu, Janana, & Bhajan ’s Geeta Govinda written in Sanskrit is most favourite among dancers. It is considered as a Prabandha. Jayadev has himself written

“Etang karoti Jayadeva Kabih Prabandham”. “एतॊग करोन्रत जयदेव कबब् प्रबन्धॊ”.

The Raga & taal are mentioned by the poet himself which helped greatly to maintain the purity of the style & tradition. These songs are sung by Devadasis (Mahari) of Temple during Bada Singhara (Bed time of Deities).

There are Twelve (Sarga) divisions and twenty four songs. Some of them are in the praise of Lord – “Pralaya Payodhi Jale” & “Srita Kamala Kucha Mandala” both repeats “Jaya Jagadisha Hare” &

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“Jaya Jaya Deva Hare”. Some of the songs describe nature in spring time Like Basante basanti Kusuma Samahara …. Lalita Labanga Lata (song -3). The story revolves around the divine love of Radha & Krishna. This is again blossomed with a sakhi as messenger. It seems Jayadeva was well versed in Dermatology as he has mentioned the Nayikas example: Bipralabdha Barnana sixteen song of 7th Chapter. Khandita Barnana Seventeen song, 8thChapter, Kalahntarita Eighteen song 9th Chapter. The twenty fourth song, 12th chapter is known to be Swadhina Bhartika Nayika. These songs are dancers delight & used for solo to portray Nayikas. The songs 1st& 2nd songs are performed as invocatory items, or as Vandana in Mangalacharana.

As a whole the Geeta Govinda text is very popular as Dance Dramas - (Guru Composed it with dancers from Mumbai, subsequently at Kolkata and latter presented it at Mukteswar festival- 1985 & latter at Festival of India at Russia.)

After the popularity of Jayadev next comes Kavi Samrat Upendra Bhanja, a popular mediaeval poets who was adept in Music, Drama also Alankara of Literature like Kaviraj Jayadev. Jayadeva’s popular lyrical drama – Geeta Govinda firmly established two facts  that it could be sung  and human sexual behaviour during youth – the ecstasy of union, the agony of separation is the most luxuriant topic for poetry.

Upendra Bhanja heads the whole host of Oriya poets with his ornate genre. Rightly he has been given Kabisamrat title. He wrote numerous poems ( Mahakavyas) among them Baidesh Bilash, Labanya Bati, Koti Bramanda Sundari are noteworthy. These are performed as dance dramas and different songs are used for solo dancing

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Baidesh Bilasha is a Mahakavya deals with Ramayana, where every line starts with letter ‘Ba’/बा Bibhushana Puspe Ja kanti Jana / बबभुशना ऩुष्ऩे ज काॉटी जन Bibhushana Kari Kanyaku Ana / बबभुशना करी कान्यकु आना Baarana Sire Pada dei Asu / बारना भसरे ऩद दी असू Barana Kari Rama Mana toshu se / बरना करी राम मन तोशु Boli Dele Kaushika Je / बोऱी देऱे कौभशक जे … Boli dela praya Goli Chandanaku Hoile Raghu Banshika je / बोऱी देऱा ऩराया गोऱी िॊदानाकू दहऱे रघु बॊभशक जे (1/16)

Banamali Das, Gopal Krushna Pattanayak & Kavisurya Baladeva Rath are the other poets who have written numerous poems in praise of Krishna and hi many pranks are often danced in Odissi items. opines of this trinity Kavisurya is most lyrical Gopal Krishna is most poetic and Banamali is most devotional.

Kavisurya Baladeva Rath’s Kishore Chandranana Champu is a poetic wonder with both prose & poetry. The drama of Radha Krishna is written in 34 songs “Ka – Kshya”. Each line of the song starts with Ka in the Ka Champu where Radha confesses her attraction towards Krishna. Ki hela re / की हेऱा रे Kahita Nunhai Bharati re / कदहता नुन्हाई भारती Kali Ja duraru dekhi / कभऱ ज दरु ा셂 देखख Kalana kala mo Akhi / कऱाना कऱा आरती रे Kala Indibara Arati re…. / कऱा इत्न्दबरा आरती रे....

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To this Lalita Banamali Das replies Kharapa tu helure / खारऩा टू हेऱुरे Khela Lola Khanjanakhi Ki Sahasa Kalure / खेऱा ऱोऱा खॊजनाखी की सहसा कऱुरे Kharba hoi sura taru Kusuma Banchhilu re / खरबा होई सूरा त셁 कु सुम बॊन्रछऱू Kheda Bija nija Hruda kedarare Binchilu re / खेडा बीजू न्रनज 셃दा के दारारे बबत्न्िऱू

These songs are performed solo as well in the dance dramas.

According to Mayadhar Mansingh (in the Marg publication) “What distinguishes Gopal Krishna songs is the purity & sublimity of emotions expressed in most natural way, without any effort at mere ornamentation or deliberate effect. … He is one of the poets in Oriya who sings the romance of Radha Krishna without any vulgarity.

“In one song Radha says- “Family & society have I given up gladly for the love of Krishna, His love is indeed the one treasure of my life I am now a beggar, and he my begging bowl, I am an unknown wild flower and he its honey bee, I shall be counting the rosary of his beauties and virtues for all eternity.” – Translation Shri Mayadhar Mansingh- Marg

Yet in another song Radha says- How can I take his unkindness to heart? Am I any better than humble servant-maid before Him?

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Would this Radha ever have also any pleasure by wounding His feelings? Rather would she wear herself out serving the woman who takes His fancy? I shall get all the treasures of the world If He is just happy, even be it, with another woman My one desire being to have one look only at His feet Just once a day, even from a distance. – translation Shri Mayadhar Mansingh- Marg

Gopal Krishna has described in his poem Krishna’s enchanting child hood, adolescence etc. & the feelings of the dotting old mother Yosoda.

“Are Babu Shyama Ghana tu gale Madhu Bhubana / अरे बाबु श्यामा घाना टू गऱे मधु भुबना Kaha Munha chanhi Banchibi heba Dasa Diga Sunya.” / कहा मुॊह छान्ही बॊचिबी हेबा दस डडगा सुन्या This is a favourite song for the dancers.

Songs of Banamali Das are also very popular. Kanhi gale Murali Phunka, To lagi Gopa Danda Mana, Patha Chhadide, etc. are performed by solo dancers.

The more you defame Him The gladder it makes my heart Which sinks the moment you start praising him But when we met my eyes Get glued to His presence A yearlong vision, while a moment non seeing seems like endless aeons

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Says Banamali, Where is the happiness in love! I am dying each moment, Thinking and thinking of Him only. – translation Shri Mayadhar Mansingh- Marg

Dhire Ghena Kananare Krushna Bilambita is written by Abhimanyu Samanta Singhara in Bidagdha Chintamoni is another wonder of Batsalya Rasa, where Mother Yosoda laments why she left him to the woods with cows. She finds Krishna has left behind his Wooden shoes & Umbrella & she is afraid that the witches are active they may lure Him away. Bhakta Charana Das is another poet who has written “Are Babau Shyama Ghana Tu Gale Madhu Bhubana”. This song also deals with Batsalya rasa where Yosada as a doting mother says if Krishna Goes to Mathura, then she will be just like a fish without water. ’s Tapaswini describes Sita’s stay at Valmiki’s hermitage. Gangadhar belongs to western Orissa & to weaver’s family. The song “Mangale Aila Usha Bikacha Rajeeba Drisha” is widely used in Odissi repertoire. Kabichandra Kalicharan Patnaik who is considered as father of Odissi Dance, wrote volumes of poems, drama as well as treatises on Music & translated and edited treatises. He has a theatre party & directed many dramas as well as credited to educate dance Gurus in various aspects. He has translated Geeta Govinda in to Oriya in the same metre & same raag & taal. There are other poets who have contributed to Odissi Abhinaya.

Orissa has a rich heritage of art and culture, which was naturally handed over to the next generation, hence traditional. But time and again some scholars refer to the texts and check the infiltration and misinterpretation. As there are different opinions and different systems they vary with each

15 other. Naturally the best and the authentic click with the time and become classical. But at times, separate parallel lines evolved with many followers. Such is the case with Orissan taals having two distinct methods.

The Traditional Taals mentioned in Natya Monorama, Geeta Prakash, Sangeetarnava Chandrika and Sangeet Ratnakar. The following taals are practiced in Orissa.

 Aditaal / अददताऱ

It has four parts- 4,4,4,4 Total 16 matras. This taal is same as trital of Hindusthani taal

Dha dhina kita dhini / धा चधन क्रकत धीनी Dha dhina kita dhini / धा चधन क्रकत धीनी Dha dhina kita dhini / धा चधन क्रकत धीनी Ta dhina kita dhini / ता चधन क्रकत धीनी

 Jati taal / जाती ताऱ

It has four parts -3, 4, 3, 4 total 14 matras. Three taali and one khali falls on 8th matra. It can be compared with the Hindusthani Dipchandi taal

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Dha dhi na / धा धी न dha dha dhi na / धा धा चध न Ta ti na / ता ती न dha dha dhi na / धा धा चध न

 Nishari / न्रनशारी

Rhythmic Structure- 3, 2, 3, 2 Total 10 matra. Khali falls on six matra

Dhak Dhati Nam / धक् धती नम Dhati Nam / धत नम Tak Tati Nam / तक तन्रत नम Tati Nam / तन्रत नम

 Matha/मथा

It has 10 matra rhythmic structure – 2, 2, 2, 2, 2. Khali falls on 3rd & 9th Matra

Dha Kadhi / धा कधी Naka Dhini / नाका धीनी Taka Dhini / ताका धीनी Dha Kadhi / ध कधी Naka Dhini / नाका धीनी

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 Jhampa / झ्ऩा

It has four parts 2, 3, 2, 3. Total 10 matras. Khali falls on 6th Matra

Dhati Nam / धाती नम Dhak Dhati Nam / धक् धाती नम Nati Nam / नाती नम Tak Dhati Nam / तक धाती नम

 Tripata / बत्रऩता

It has three parts- 3, 2, 2. Total 7 matras same as Hindusthani Rupak taal

Dhei Tathi Ndak / ढ़ी तथी नदक Thathi Ndak / थाथी नदक Thathi Ndak / थाथी नदक

 Kuduka / कु डुका

It has six parts and four taali and two khali-2, 2, 2, 2, 2, 2, total matra- 12. Khali falls on 3rd, 6th matra. It can be compared with the Hindusthani Chautal

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Dha Dha / धा धा Ding Ta / डडॊग ता Kit Dha / क्रकट धा Ding Ta / डडॊग ता Kita Taka / क्रकता ताक Gadi Gene / गाड़ी गेने

 Adataali / अड़ताऱी

This is a special taal of Odissi and is seldom used by either the Hindusthani or Carnatic musicians. It has four parts three taali and one khali on 8th matra. 4, 3, 4, 3. Total 14 matras. It starts from anahata and that is the peculiarity of this taal.

- kadatak dhi na / कदतक धी न dha dhi na / ध धी न dha dha dhi na / ध ध धी न ta ti na / ता ती न

 Ekataali / इकताऱी

Ta sthi nakakadataka takadhini / ता सतही नकाकदाताका तकचधनी

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 Rupak / 셂ऩक

It has two parts, two taali 2, 4 Total 6 matras.

Dha kadataka / धा कदाताका Dha kadataka ti nda / धा कदाताका

 Khemta

It has two parts one taali and one khali 3, 3 total 6 matras.

Dha ti nakata / धा ती नकता ta ti nakata / ता ती नकता

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