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Odissi, like other classical Indian dances, developed as a spiritual practice to express devotion to a higher power. Recognized as one of the most graceful and lyrical of these dance forms, Odissi flourished in the renowned temples of Orissa, such as those in Puri, Konark, and Bhubaneswar. Many temple dancers, known as Maharis, were dedicated to performing rituals for the deities during morning and evening ceremonies. This tradition was passed down through generations, with the Maharis playing a key role in maintaining the dance’s legacy.

Archaeological evidence suggests that Odissi may be the oldest dance style in India. The Natyashastra, the ancient and authoritative text on Indian dance and drama, also references its practice under the name “Udra Nrutya” in Eastern India.

However, with the decline of the Maharis’ social status, the importance of temple dance faded, and Odissi’s popularity diminished, especially during the medieval period. Despite this, the dance was preserved by a small group of Gotipuas (young male dancers) and their dedicated mentors, receiving sporadic support from the Zamindari system. Both the Mahari and Gotipua traditions were closely linked to the Jagannath temple in Puri, and Lord Jagannath’s influence permeated the culture and lives of the people of Orissa.

It wasn’t until the last century that Odissi was revived by three key figures: Padmashree Guru Pankaj Charan Das, Guru Debaprasad Das, and Padmabibhusana Guru Kelucharan Mohapatra, who devoted themselves to restoring the dance form.

The essence of Odissi lies in its sculptural quality. Many of its graceful poses resemble the sculptures found in the temples that once nurtured the art. In Orissa, both dance and sculpture embrace the “bhanga” (bend) concept of Hindu iconography. The defining features of Odissi include hip deflections, poses with three body bends (Tribhnaga), and fluid, rounded movements of the hands and body. This dance exudes a sensual charm, with dancers creating captivating and memorable visuals through symmetrical patterns of rectangles, squares, and circles.