Odissi, along with other major Indian dances gained appreciation after efforts by many scholars and
performers during the 1950s, particularly by Kavichandra Kalicharan Pattanayak,
an Oriya poet, dramatist and researcher. Pattanayak is also credited with
naming the dance form as "Odissi."
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Post independence Odissi has become a well established classical dance form of India.
After the turmoil and the decline of ‘Mahari’ tradition, the classical Odissi dance was again revived by gurus such as Pankaj Charan Das, Kelu Charan Mohapatra, Deba Prased Das, Mayadhar Rout, Harekrushna Behera and a host of others. Indrani Rahman, Sanjukta Panigrahi, Kum Kum Mohanty, Sonal Mansingh, Madhuri Mudgal, Yamini Krishnamurthy, Kiran Sehgal, Pratima Gauri Bedi, Minati Mishra, Priyambada Hejmadi and emcee of other dancers put it on the world map.
Presently Odissi as an independent dance form which is
recognised all over the country. All the poses, steps and movements in Odissi
dance have been codified and preserved by the Odissi Research Centre
established by Govt. of Odisha at Bhubaneswar. Over a period of time three
schools of Odissi dance has been developed, they are Mahari, Nartaki, and Gotipua.
The Mahari system traces its roots in the Devadasi tradition. Nartaki tradition
of Odissi has been developed in royal courts. In the Gotipua tradition of
Odissi dance young boys dress up in female attires and enact female roles.
With India gaining independence the government came to
realize the role of cultural heritage in creating a national identity. A lot of
experts in this field took initiatives to reconstruct and popularise Odissi
dance. Globally this dance form is considered a dance of love, joy and intense
passion, pure, divine and human.
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