With breathtaking architecture, reverent history, vibrant art music and dance forms, Odisha is one of the most vibrant states in India. One such art form that is said to have originated in Odisha with male dancers dressed in female costumes is the Gotipua (“Goti” means “single” and “Pua” means “boy”) Dance which sprouted from the seeds of religion and spirituality. The Gotipuas are called by different names like Akhada Pila, Sangeeta Pila, Dakhini Pila, Nachua Pila, Natapila, etc.
Sri Chaitanya's arrival in Puri in the early 16th century created a stir in the socio-religious and cultural life of the people of Odisha. He introduced the doctrine of Madhura Rasa Upasana or the mode of devotion to Krishna through conjugal love. He popularized the Bhakti movement and Lord Jagannath at Puri was identified as Srikrishna. The prominence of Vaishnavism grew since then in Odisha.
The Vaishnavites had not approved of dancing by women instead they had preached and practiced the cult of Sakhi Bhava or offering one’s self to Krishna as a female attendant. Due to this, they introduced boy dancers. The temple dance performed by the Devadasis or Maharis came out of the temple and was performed by those boy dancers with female garbs in temple precincts and on festive occasions. This dance later developed its technique, style, and presentation.
Poses and Movements
The Gotipua dance has some distinctive, movements, gestures, and postures (Bhangis). Literally, in pure Odia terms, those are called Chhai, Chhataka, and Chhapaka.
According to Kabichandra Kali Charan Pattnaik, an erudite scholar on Odissi dance and music, a Gotipua must learn:
Utha - It means to rise from the sitting pose and then dance
Baitha - The dancer bends his knees in equal measure and dances with the weight of his body set up on his waist
Thia - It is the standing pose of a dancer at the beginning or during the pauses or at the end of the dance
Chali - The dancer steps forward, while singing in a measured way, and is said to practice Chali
Buda - Towards the close of the dance the dancer lifts his hands above his head and acts as if he is immersed in feelings
Bhasa - Movement of the dancer by bending the body alternately to the right and the left sides and acting with the hands
Bhaunri - While practicing this, the dancer revolves in such a manner and so quickly that his body is not discernible
Pali - This is the back-stepping of the dancer while dancing
Apart from that, the dancers also practice ‘Parija’ which means Acting. The Gotipua dance has 4 parts known as ‘Angika’, ‘Vachika’, ‘Aharya’, and ‘Sattwika’. Angika means the movement of limbs to express some feelings. Vachika means conveying feelings using words. Aharya means dressing etc. Sattwika means outwardly reflecting innermost feelings.
Selection and Training of Gotipuas
There is no formal selection to go through. Boys are usually chosen based on - boys who come from a poor background where their parents are not able to take care of them, and boys whose parents offer them to god for their well-being. Because in those days when children were severely ill the only option parents had was to offer their children to God and Goddess for their services. While accepting boys to the art form two things are taken into consideration though not strictly, one is the willingness of the parents and the other is the interest of the boy.
The training of the dance normally starts at a very tender age of 5 to 6, when their limbs are soft and can easily adapt to flexible forms. The Gurus followed the traditional Gurukula Ashrama system. The boys have to reside in the Guru’s home and Guru provides free boarding and lodging and academic education etc.
Make-up and Costumes
Originally Haldi and Kumkum were used by the Gotipuas. Today, the make-up involves a buff colour base in powder form which is applied on the face; collyrium is used to darken and elongate the eyes and eyebrows. A decorative pattern called ‘Gorachana’ of a creeper-like design is painted on the forehead and encircles the eyebrows and runs down onto the cheeks. A beauty spot in the shape of a fly is placed on the chin. A Tika or Tilak mark on the forehead. A typical flower arrangement for the hairstyle is called Puspa Chuda in the Abhinaya Chandrika. Two other types of flower arrangements are Ardha-Baktaka or semicircular and Katibeni or a single plait hanging down the back.
The dancers now use very few ornaments like Chandra, Alaka, and Ketaki for the forehead. Kapas for the ears. Chapasari and Padatilaka named necklaces. The arms are adorned with Tayita and Kaankan for the wrists. Bengapatia, the silver sets, and Kamarpeti of brass are tied around the waist.
For the costume traditionally the Pattasari is made of indigenous silk of bright colours, generally in some shades of red and nine yards in length is worn.
Songs and Musical Instruments
The Gotipuas are supposed to sing while they are dancing. The songs sung by them are generally the compositions of Vaishnava poets of Odisha like Kabisurya Baladev Rath, Kabisamrat Upendra Bhanja, Gopalakrushna, etc. Musical instruments like Odissi Mardal, Tabla, Violin, Harmonium, and Gini (Cymbals) are used.
The Gotipua dance has its staging which starts with Dhyana and Vandana in honour of Lord Ganesh, Saraswati, Guru, Jananas, and Bhajans to Lord Jagannath; then Odissi songs on Radha-Krishna Leela are sung with the performance of Abhinaya.
Bandha Nritya
The most interesting thing in a Gotipua dance performance is Bandha Nrutya. An acrobatic dance with the suppleness of the limbs is called Bandha in Odia (so derives the name of this dance). Abhinaya Chandrika the treatise on Odissi dance written by Sri Maheswar Mahapatra in the 15th century A.D enumerates ten varieties of Bandhas. They are Gagan, Dwimukha, Torana, Shayana, Khuddra, Trisula, Brutanga, Damaru, Pradipa and Mithunasraya. There are some which are found in oral tradition in Gotipua and are known as Chira, Nahunia, Mayura, Chara Mayura, Sagadia, and Olatachit.
According to various research, this dance form is on the verge of extinction if it isn't revived. Educating and promoting people about these dance forms is the first thing we can do. Do your bit by sharing this blog post with your friends and family.
References:
http://www.indianculture.gov.in/gotipua-dancers-orissa
https://lakshmisharath.com/gotipua-dance-odisha/
Sunil Kothari, 'Gotipua Dancers of Orissa' (https://snarepository.nvli.in/bitstream/123456789/2752/1/JSNA%288%2931-43.pdf)
Manmathy Padhy, 'Folk Dance: A distinctive performing art tradition of Odisha' (http://www.iraj.in/journal/journal_file/journal_pdf/14-349-149690673683-87.pdf)
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