Notes 1 Pure dance, the technical aspect of the form. 2 The name of the dance was more commonly spelt as Orissi in its early years. 3 They continue to be used till date, since Orissa shares borders with Bengal and Andhra Pradesh. 4 Pakhawaj-like oblong drum used in dance and music. 5 The others include , Mayadhar Rout and Pankaj Charan Das. 6 The end of the sari that goes over the shoulder to cover the upper torso. 7 The tenth single-hand gesture in the Abhinaya Darpana, formed by balling four fingers up into a fist with the thumb sticking out. 8 From conversations with various company dancers at Srjan in May 2007 and May/June 2008. 9 Separated by a decade. 10 Based on my personal experience and observation of Odissi teachers at work in Mumbai, New Delhi, Bengaluru and . 11 In Odissi, most first generation works were choreographed on specific dancers (not always as commissioned work) and then taught to other dancers following the same style. Thus the question of copyright is a convoluted one, because there is no consensus on whether the work can still belong to a single person or institution. Then, the remake throws up sentimental issues more than legal ones, since it is read as a challenge to the old order – made with the aim of improving upon existing work rather than another step in the continuous evolution of a form. 12 I refer to the contemporary as a sensibility in its temporal quality, rather than a stylistic impulse or notion of form. 13 Take the debate around the origins of , the author of the twelfth-century Sanskrit epic Gita Govinda. Both Orissa and Bengal claim him as their own, respectively locating his birthplace in the district of Khurda in Orissa or Birbhum in West Bengal. Jayadeva, through the Gita Govinda, is deeply linked to the history of the Jagannath temple in , and consequently to the Odissi repertoire. His identity as a native of the region is crucial in asserting this connection. Simultaneously, the Kenduli Mela at the other probable site of his birth in present- day West Bengal is a big annual gathering of Bauls or itinerant singers from Bengal. 14 A mode of make-up that has auspicious connotations. 15 This is changing, with dancers focusing on alignment and conditioning to reduce injury and prolong their artistic careers.

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