October - 2013 Odisha Review Gotipua Dance Tradition in Odisha : An Overview Chitta Ranjan Mallia The Gotipua dance is an age old tradition sprouted It is thus narrated in ‘Jagannath 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 Radha-Krishna 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 Puri 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 temple dance an erudite scholar on Odissi dance and music, a performed by the Devadasis 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 Gotipuas 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 56 October - 2013 Odisha Review ‘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 Ashram system. The boys have to stay in the Guru’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 Ghee 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 Gurus 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. 57 Odisha Review October - 2013 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 Mudra. 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 Mudras 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.