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Asia is becoming an important cultural force in the twenty first century. For those engaged in performance arts, and Indian classical dance forms in particular, Dance Routes has completed a seven-year research project from which it has created a teaching method for Odissi from a contemporary perspective. Workshops have been devised that approach Odissi holistically. They not only address its movement technique, but also its philosophy, religion, history, culture and current issues. The introduction of a discipline such as choreological studies creates useful links to mainstream western dance education, where artistic self-exploration is a priority. In India this has a special significance because dance students are rarely trained to give form to individual self-expression. |
Classicism v Modernity |
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Odissi dance is at a crossroads in its history. It has ‘come of age’ as an art form in India but not so in the Indian diaspora. It is caught between the changing value systems of ‘classicism’ and ‘modernity’ as interpreted by three generations - its creators, their students, and their students in turn.
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| At its core, all ‘classical’ dance in India shared common fundamental principles with other Indian art traditions. The primary objective was learning to still the mind through skill in the practice of art, and value in any artistic work rested in its ability to imprint the viewer with an experience of this inner tranquility. Odissi is ‘classical’ in that it bears allegiance to this tradition. |
To remain true to its spirit, Odissi needs to be a ‘sacred channel’ drawing in ‘divine energy through the material form of the body and providing an access to inner space’. Due to its inherent structures, the language it articulates best is that of devotion to God. Odissi is however a 20th century creation that has to survive in a materialistic world. Dance has to be an ‘attractive performance’ that ‘celebrates the power of the body’, expressing itself effectively in external performance spaces. |
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‘Modernity’ within the Odissi tradition can be seen to have manifested as a largely suppressed need for ‘independence and originality’, a fact perhaps more acutely experienced by Odissi’s younger generations than their predecessors |
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| Dance Routes responds to this taking into account Odissi’s historical legacy in tantra and yoga. It endeavours to redefine and relocate Odissi in contemporary, cosmopolitan India where it currently has its greatest presence. In doing so, it prepares the ground for Odissi’s wider acceptance in a larger world. |
| For an Abstract of the PhD Thesis ‘Classicism on the Threshold of Modernity: Expanding the Physical Parameters of Odissi Dance for Contemporary Audiences’ Laban, City University, London, 2005, please contact Dance Routes.
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