As discussed earlier Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua
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| The Mahari tradition (Photo Credit: Google image) |
Mahari: Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple ofJagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the shrine.
The service of temple dancing by females began in the
Shaivite temples and continued in the Jagannath temple in service of the Lord
Jagannath. These dancers were often considered as the wives of Lord Jagannath.
Gotipua: In Oriya Gotipua means single boy. Gotipua dance is performed only by boys who dress up as females. During the reign of King Prataprudra Dev, a follower of Sri Chaityana, renewed this dancing tradition by boys.
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Developed during the 6th century, the Gotipua tradition was
became an emerging tradition. One of the reasons given for the emergence of
Gotipuas was because of the Vaishnavas, who did not approve of dancing by
women. Gotipuas were boys dressed up as girls and taught the dance by the
Maharis. During this period, Vaishnava poets had composed innumerable lyrics in
Oriya devoted to Radha and Krishna.
Nartaki: This dance tradition took place in the royal courts, this form was
much popular before the British government took over India. During this time
the misuse of devadasis came under strong attack, so that Odissi dance addled in
the temples and became unfashionable at court. Only the vestige of the Gotipua
school remained, and the reconstruction of the style required an archaeological
and anthropological effort that has tended to foster a traditional floridness.
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