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Journal articles on the topic 'Odissi music'
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Waniss, Adil Mousa Younis, and Abdulmajied Ali Balkash. "An Important Component of Audi's Classical Music." Journal of Social Science and Humanities 7, no. 2 (2025): 75–76. https://doi.org/10.53469/jssh.2025.7(02).12.
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Udra, Kalinga, and Utkal, also known as Odisha, are places of pilgrimage for Lord Jagannath and are renowned for their excellence in arts, music, and culture. Odissi dance and music have flourished in the fertile land of Odisha, a region rich in musical tradition. Odissi Music is known for its subtleness. It is characterized and distinguishable by the elements of spontaneous creativity and embellishment of melody and rhythm with a vibrated movement. The body of an Odissi song is text, while the soul is mood. In Odissi music, there are several types of Prabandhas according to musical and lyrical aspects. Further division has been made to guide performances. The medium pace of singing is what makes its rendering style unique. The Odissiprabandhas are Raganga, Bhabanga, Dhrubapadanga, Natyanga, Champu, Chanda, Chaustisha, Bhajan, Janana, Pallavi and Geetgovind. My focus in this paper will be on the unique chapter of Odissi classical music known as "Champu".
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Sekhar Swain, Himansu, and Bibhuti Bhusan Champati. "Odissi Music: As Classical as Odissi Dance." International Journal of Science and Research (IJSR) 12, no. 10 (2023): 599–601. http://dx.doi.org/10.21275/sr231006231056.
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Sekhar Swain, Himansu. ""Champu" an Integral Part of Odissi Classical Music." International Journal of Science and Research (IJSR) 13, no. 2 (2024): 685–86. http://dx.doi.org/10.21275/sr24206225204.
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Mohapatra, Dheeraj Kumar. "Musicality of the Geetagovinda and Odissi Music." Asian Journal of Research in Social Sciences and Humanities 5, no. 7 (2015): 85. http://dx.doi.org/10.5958/2249-7315.2015.00161.6.
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Tripathy, Dibya Ranjan, and Sontosh Kumar Mallik. "Rhythms of Tradition Explores the Rich Heritage of Folk Music and Dance in Western Odisha." Journal of Humanities,Music and Dance, no. 46 (October 19, 2024): 9–21. http://dx.doi.org/10.55529/jhmd.46.9.21.
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This study explores the rich heritage of folk music and dance in Western Odisha, delving into its cultural, spiritual, and social significance. Western Odisha is home to folk traditions such as Ghumura, Danda, Leela, Dhap, Sankirtan, and Daskathia, all of which reflect the region's deep historical and religious roots. These performances are not merely artistic expressions but serve as vehicles for transmitting cultural knowledge, reinforcing community bonds, and maintaining religious and spiritual practices. Instruments like Ghudka, Sarangi, and Devgunia are integral to these performances, symbolizing identity and tradition. The study reveals that many of these traditions are tied to religious rituals and agricultural cycles, with performances occurring during specific festivals or times of the year. Furthermore, the research highlights the role of these folk traditions in social functions, particularly in promoting community cohesion and facilitating courtship among youth. However, the influence of modernization, coupled with a lack of formal documentation, poses challenges to preserving these traditions. The increasing popularity of classical dance forms like Odissi in the region adds to the cultural transformation. The discussion emphasizes the need for institutional support and more excellent documentation to preserve these folk traditions for future generations. Festivals, workshops, and financial support for folk artists are proposed as potential solutions to safeguard this intangible cultural heritage. In conclusion, while the folk music and dance of Western Odisha continue to thrive, proactive efforts are essential to protect and sustain these traditions in the face of modern challenges.
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Srivastava, Nikita, Priyanka Soni, Rajat Singh, Anchal Sharma, and Arun Kumar. "Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers." International Journal of Social Science Research and Review 7, no. 8 (2024): 24–41. http://dx.doi.org/10.47814/ijssrr.v7i8.2185.
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Dance has held significant importance in Indian culture and history. It has been used as a form of artistic expression, as a means of indulging in recreation and leisure, as a medium of conveying emotions like joy during special occasions of wedding and festivities. The mental health field has also recognised the importance of dance in recent years with dance movement therapy becoming popular worldwide. Ayurveda has emphasized the power that dance holds in healing and creating inner awareness. Various Indian philosophies support the idea of dance and music being beneficial for human physical and mental health. During the Aryan period, Nritya (dance) was linked to yoga, giving it a spiritual meaning. Dance forms were utilised by the Aryans to purify and strength the mental capabilities. The seven major Indian classical dance forms are Bharatnatyam, Kathak, Kathakali, Odissi, Kuchipudi, Manipuri and Mohiniattam. These dance forms possess three common aspects of Natya (drama), Nritta and Nritya (dance). There exists very limited research about the importance of these traditional dance forms in terms of improving mental well-being. Even though traditionally the traditional dances were deeply rooted in spirituality and philosophy. The present paper aims to examine how classical Indian dance forms can serve as a means of improving mental well-being by thoroughly reviewing literature.
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Laxman, Majhi. "The Rāmalīḷā Tradition of Odisha". Partners Universal International Innovation Journal (PUIIJ) 01, № 02 (2023): 90–96. https://doi.org/10.5281/zenodo.7855586.
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Rāmalīḷā a popular form of traditional theatre in the state of Odisha. It provides a detailed analysis of the historical evolution of Rāmalīḷā and its unique features that distinguish it from other forms of theatre. The paper also delves into the various aspects of Rāmalīḷā, including its music, dance, and elaborate stage design. The research paper focuses on the theatrical tradition of Rāmalīḷā in the Indian state of Odisha. It explores the history and evolution of this popular form of traditional theatre, and its unique features and characteristics that set it apart from other forms of theatre. The paper delves into the music, dance, and stage design that are integral to Rāmalīḷā, and how they contribute to the overall experience of the performance. The author also examines the social and cultural significance of Rāmalīḷā, and how it has been used as a medium for cultural expression and social commentary. Through this research, the author aims to promote a deeper understanding and appreciation of Rāmalīḷā as an important component of Odisha's rich cultural heritage.
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Zeba, Hasan. "Devadasi Tradition and Artist Ratnabali Kant's Reaction on the Orthodox Practice through Dance Theater Performance." RESEARCH REVIEW International Journal of Multidisciplinary 4, no. 6 (2019): 18–23. https://doi.org/10.5281/zenodo.3247199.
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The tradition of 'Devadasi' was related to the magnificent temples of South India built during the kingdom of Pallava, Chola and Pandya. According to historical and socio-religious records 'Devadasi' was recognized as a learned and talented woman and spiritual devotee to the deities of temples. They were trained in Indian classical dances like Bharatanatyam and Odissi. During this time every temple was reverberated with the sound of music and this profession attributed with high reputation. Till the eleventh century these religious rituals continued under the patronization of Kings or in charge of the temple academicians for smooth functioning. But with fall of Pallava, Pandya and Chola dynasties this dignified tradition of temples undergone to degeneration. At this time temples become poorer and lost their patrons, devadasis suffered poverty, misery and in some cases adopted the profession of prostitution to earn their livelihood. The nineteen and twentieth century withered the personae of devadasiand modern status given to her termed as Mistress. Instead of royal or temple's academician's patronage, rich men of the vicinity came forward to patronize devadasis and exploited their helplessness. After the total collapse of temples some devadasi women migrated to nearby towns or other far-off cities and started practicing prostitution. Corruption kept on growing, consequently tradition of becoming devadasi declared illegal by Karnataka state government in 1982 and Andhra Pradesh in 1988. Presently devadasi's are known as jogin in Andhra Pradesh, who are working as labour and facing further exploitation forfulfilingthe needs of livelihood. Artist Ratnabali Kant researched the tradition of davadasifrom historical, religious rituals and psychologicalpoint of view. She reached to the conclusion that this tradition was inappropriate and against the nature, which caused the whole community of devadasis to get suffered immeasurably. She performed a demonstration through a dance-theatre-performance to convey her opinion about the tradition, which is still continuing at some backward places of India. The above issue has been elaborately and scientificallydiscussed in the proposed research paper.
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Chakravorty, Pallabi. "Performing Konarak, Performing Hirapur: Documenting the Odissi of Guru Surendranath Jena by Alessandra Lopez y Royo. 2007. SOAS, University of London, AHRC Research Centre for Cross-Cultural Music and Dance Performance. £10.00. - Interpreting and (Re)Constructing Indonesian Dance and Music HeritagebyAlessandra Lopez y Royo. 2007. SOAS, University of London, AHRC Research Centre for Cross-Cultural Music and Dance Performance. £10.00." Dance Research Journal 40, no. 1 (2008): 92–95. http://dx.doi.org/10.1017/s014976770000142x.
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Prajapati, Deep. "FOLK MUSIC OF WESTERN ODISHA ‘GANDA BAJA’ THE TRADITION IN TRANSITION." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 160–71. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.144.
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'Ganda Baja’ is a hardly discussed topic in scholastic works of Indian folk music. It is one of the major and unique folk music traditions in western-Odisha folk culture. Presently, it is going through a phase of transition which could determine its very existence. The new generation constantly in a search to contextualize the music that would sound trendy to the present-day music market, yet it is searching scopes to reach a level in terms of music quality and to justify the core. On the other hand, the cultural elites trying to filter the music that would be conducive to proscenium, but the original music and musicians remain marginalized. With the notion of up grading music, somewhere the transition is causing a distortion to the music and rarely addressed with that gravity. However, the traditional musicians and their music have always been rooted in traditional aesthetics. This study addresses on few degenerative factors that causing a huge distortion to Ganda Baja in the process of transition. The distortions that need more scholastic attentions are (1) the changing styles of music performance practices and the platforms, (2) the music making with overridden musical assimilation, and (3) the changing connotations in the scholastic works. The Ganda Baja musicians are excluded in current cultural happenings. This study aims at bringing Ganda Baja and the musicians to limelight both in the music literature and cultural platforms. It invites scholastic attentions to way out solutions that would produce music without a distortion.
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Laxman, Majhi. "The Popular Folk Dances of Odisha." Partners Universal International Innovation Journal (PUIIJ) 02, no. 01 (2024): 89–95. https://doi.org/10.5281/zenodo.10647777.
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The majority of Odisha's communities have a folk culture that include folk dance, theater, art & crafts, music, rituals, stories, and ballades, among other things. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk dances continue to be popular throughout Odisha's many groups. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk dances are easy and impromptu. They are easier to pick up as there aren't any intricate or ceremonial motions or movements. Folk dances are passed down from one generation to the next, and while performers are allowed a lot of creative freedom, the fundamental structure always stays the same. Folk dances can be done in groups or solo. Group dances are more prevalent and represent communal or group thought. A crucial component of these dances is singing. While the dancers occasionally sing, other times they move to the music of another ensemble. This research paper explores the principle of popular folk dances of Odisha, a state located in the eastern part of India. The paper analyzes the cultural and historical significance of these traditional dances, examining their unique features and identifying the underlying principles that govern their performances. Through a detailed exploration of various folk dance forms such as Ghumura, Sambalpuri, and Dalkhai, the paper delves into the rich heritage of Odisha's folk culture and its influence on contemporary society. By highlighting the intricate nuances of these dances, this research aims to provide a comprehensive understanding of the principle of popular folk dances of Odisha and their importance in shaping the cultural identity of the region.
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Naik, Dr Rajakumar. "Present Scenario of Bathudi culture and Society." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (2021): 2558–60. http://dx.doi.org/10.22214/ijraset.2021.37814.
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Abstract: Odisha has one of the largest concentrations of tribal population in the whole country. In concrete figure they number around 8 million. Tribal communities differ from all others in many aspects, their distinctive features being clan organization and territorial exogamy, class’s social structure, youth dormitory, colourful rituals and folk art, music and dance. The 62 tribes in Odisha wary in their size, degree of acculturation and economic patterns. While the Kondhs numbering around nine lakh are numerically the largest in the state. the Santals are among the three largest and advanced tribes in the country. The major tribes living in Odisha are the Bathudi, Santhals, Oraons, Gonds and Kondhs. Although many of the Adivasi tribes are found in other parts of the country, the Juangs, Bhuyans, Saoras, Bondas and Bathudis are exclusive to Odisha. The tribal Communities are in various stages of economic and social development starting with the least developed Bondas and ending with the comparatively advanced Santals, the spectrum covering seminomadic to semiurban conditions. Keyword: exogamy, acculturation, Juangs, Bhuyans, Saoras, Bondas and Bathudis
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Dr., Shakti Shankar Dandapat. "Niranjan Mohanty: Revisiting Kalahandi Through Odia-English Poetry." International Journal of Social Science and Human Research 07, no. 09 (2024): 6813–15. https://doi.org/10.5281/zenodo.13734174.
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Niranjan Mohanty is an Odia poet who chooses to write in English. This choice seems to have been prompted by his profession. Being a professor of English it perhaps became convenient for him to accept English as the medium of his poetry. Besides being a poet of humanity the flavour of Odisha is quite distinct in his writing. However vast may be his canvas but Odisha conveys a special resonance. The land, legends, music, myths of Odisha have received special attention from him. Though the form he adopts is foreign, the content on the contrary remains quintessentially his own. This form-content disparity does not offer his readers any sense of awkwardness. That sense of divide is never evident. He seems to have successfully bridged the apparently difficult gap. His poetry is incontestably simple but sometimes it appears to be simplistic. This paper is an attempt to express Mohanty’s humanism.
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Cano Mateu, Josep Àngel, and Xavier Hernández Garcia. "La hipertextualitat i la intermedialitat en Odissea, el viatge de Ningú (2017), d’Elies Monxolí." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, no. 22 (2023): 482. http://dx.doi.org/10.7203/scripta.22.27843.
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Resum: L’Odissea d’Homer ha donat lloc a centenars de versions, traduccions o reescriptures, i també en l’àmbit musical o l’artístic. Com destaca Gérard Genette (1982), és un dels hipotextos més utilitzats que ha inspirat grans obres com l’Eneida o l’Ulisses, de James Joyce. També Odissea, el viatge de Ningú, d’Elies Monxolí: una nova lectura del relat homèric ssobre les traduccions de Carles Riba i Joan Francesc Mira, i que hi incorpora referències a Ausiàs Marc, Dante Alighieri, Salvador Espriu i Vicent Andrés Estellés, entre d’altres. A aquesta riquesa hipertextual, s’hi suma la música, que s’adapta al text i hi integra al·lusions a Lluís Llach i a Raimon. Els collages de Pere Salinas completen aquesta creació que amalgama literatura, música i art plàstic. L’objectiu d’aquest article és analitzar la hipertextualitat d’aquesta obra a partir de Genette, i les relacions intermedials entre les diferents disciplines artístiques que la conformen, seguint les tipologies de Werner Wolf (1999).Paraules clau: hipertextualitat, intermedialitat, Homer, Odissea, El Viatge de Ningú reescripturesAbstract: Homer’s Odyssey is a major pillar of the Western literary canon that has resulted in hundreds of versions, translations, or rewritings, both from a literary point of view and from a musical or artistic point of view. In fact, as Gérard Genette (1982) points out, it is one of the most commonly used hypotexts, which have inspired great works such as the Aeneid and James Joyce’s Ulysses. Also Odissea, el viatge de Ningú, by Elies Monxolí: a new reading of the Homeric story based on the translations of Carles Riba and Joan Francesc Mira, that incorporates references to Ausiàs Marc, Dante Alighieri, Salvador Espriu and Vicent Andrés Estellés, among others. To this hypertextual richness is added the music, which is adapted to the text and, at the same time, integrates allusions to Lluís Llach and Raimon. The collages of Pere Salinas complete this interdisciplinary creation that amalgamates literature, music and plastic art. The aim of this article is to analyse, on the one hand, the hypertextuality of this work, following Genette, and, on the other, the intermediality relations between the different artistic disciplines that conform it, following the typologies developed by Werner Wolf (1999).Keywords: hypertextuality, intermediality, Homer, Odissea, el viatge de Ningú, rewritings
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Panda, Sachidananda, and Abhik Mukherjee. "The Historicity of Food Habits as Imagined in the Folk Literature of Erstwhile Kalingo: A Study through the Folk Songs of Chati-Ghoda of Odisha and Bitiali of West Bengal." Mindscape: A Journal of English & Cultural Studies 2, no. 1 (2023): 10–18. http://dx.doi.org/10.3126/mjecs.v2i1.61675.
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An effort to get a glimpse of a world-view can be seen through the prisms of rural folk music. They are not only a medium of entertainment for the rural masses, but also a reflection of the untainted rural society that has remained untouched by the humdrum of modernity even today. The rural people live by the age-old practises, beliefs, rituals, and wisdom of traditional knowledge. This paper aims to reproduce the concept of folk music and its typical characteristics, replete with nuances of those pearls of wisdom, that have remained a guiding force for the country people for generations, and how folk music, other than being the prime source of entertainment, is a storehouse of knowledge about the customs, food habits, rituals, and other social behaviours that resonate with the life and living of the populace. This will also highlight some of the extensive citations from the available oral traditions of music.
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Naik, Raghumani. "GROWTH AND DEVELOPMENT OF HIGHER EDUCATION IN SAMBALPUR (1944 - 2015)." SCHOLARLY RESEARCH JOURNAL FOR INTERDISCIPLINARY STUDIES 9, no. 66 (2021): 15442–52. http://dx.doi.org/10.21922/srjis.v9i66.6839.
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Sambalpur is the hub of western Odisha. It is famous all over India and abroad as well because of its music and dance, handloom, Hirakud Dam and rich culture. However, in comparison to elementary education, the development of higher education in this Sambalpur district is too late. The first higher educational institution of Sambalpur is Gangadhar Meher College, 1944 and the latest university is the Odisha State Open University, 2015. The main cause of delayed development of higher education in Sambalpur is the lack of interest of the British government. Nevertheless, after India got her independence, higher education was widely promoted through the endeavour of both Government and Private enterprise. Some of the colleges and universities worthy to be mentioned are Indian Institute of Management Sambalpur, Odisha State Open University,Sambalpur University,Veer Surendra Sai University of Technology, Sambalpur University Institute of Information Technology,Gangadhar Meher University, Veer Surendra Sai Institute of Medical Sciences and Research, Netaji Subash Chandra Bose College, Government Womens’ College, Lajpat Rai Law College, Hirakud College, Orissa Medical College of Homeopathy and Research, Burla College, Govt College of Physical Education, Sambalpur, Nursing College, Dr Parshuram Mishra Institute of Advanced Studies in Education and Silicon Institute of Technology.
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Gjerdingen, Robert O. "Solfeggi with the "Simplest Melodies" Helped Introduce a Grammar of Schemas." Music Theory and Analysis (MTA) 11, no. 1 (2024): 78–106. http://dx.doi.org/10.11116/mta.11.1.4.
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Young boys in the conservatories of eighteenth-century Naples began their studies with solfeggi. Through solfeggi, they learned to read music and to name the notes of scales and the intervals between those notes. Although solfeggi were used as exercises in musical literacy, they also served as exemplary pieces of music written in the syntax and style of the times. In Naples, solfeggi were almost always in manuscript, being copies of origi nals written by the masters. That all changed in 1772, when a four-volume edition of Ne apolitan and northern Italian solfeggi was published in Paris. Entitled Solfèges d'Italie, it contained a complete course moving from the rudiments of music to the "simplest mel odies" ( le Chant le plus simple ) and then to progressively more difficult melodies, ultimate ly reaching the level of virtuoso opera arias. Almost all the solfeggi were provided with figured-bass accompaniments, probably intended to be played by a teacher. This article examines the schematic patterns between melody and bass that were introduced in the solfeggi with the "simplest melodies." It appears that the editors of this collection chose solfeggi for beginners that focused on a small set of simple melody-bass schemas.
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MARINESCU, ANGELICA. "What’s in a dance? Dalkhai: from a religious community ritual, to a pro-scenium performance." International Review of Social Research 11, no. 1 (2021): 298–313. http://dx.doi.org/10.48154/irsr.2021.0028.
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An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).
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Babita, Kumari, P. Vibhute Bhalchandra, and Solanki Hitesh. ""PITHA" the heritage food of Odisha during the traditional festival: A scientific studies on its nutraceutical and nutritional analysis." Research and Reviews: Journal of Environmental Sciences 4, no. 3 (2022): 1–11. https://doi.org/10.5281/zenodo.7109739.
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<em>Odisha has known in worldwide for its traditional food, culture and heritage. </em><em>Orissa has witnessed ceaseless human endeavor in the field of art, craft, sculpture and temple building activities for about 2500 years during her recorded history. Endowed with nature’s beauty and bounty, Orissa boasts of a rich cultural heritage on different types of cuisine like Pitha and tradition of music, dance, dramatics, art & crafts of many splendored varieties and forms; which elegantly emanate from its magnificent monuments, ancient caves, rock-cut sculptures and innumerable temples found still intact with all its pristine glory and grandeur.</em> <em>The traditional Pitha of Odisha has an identity in its taste. Commercialization has provided all the scope to have the taste of Assamese traditional food at large. </em><em>Among several festival, <strong>Rajo</strong> fever surmounts everyone and everything. “Rajo” comes from the word “Rajoswala” which means a menstruating woman celebrated in Odisha. Besides, several festival like Ratha Yatra, naukha, ambouysa, maker shankrati, shabitri vat festival also celebrated. During Rajo festival,</em><em> some special delicious Pithas such as Poda, Manda, Arisha and Chakuli etc. cooked [1]. Some other special food attributes such as Muga Bundi, Khira Gaja, and Chena Poda.</em> <em>. We inherit them and we should preserve them well so that we can gift them to our future generation. With the famous traditional snacks, <strong>Pithas</strong> are a variety of food similar to pancakes, dumplings or fritters, originating from the </em><em>Indian subcontinent</em><em>, common in </em><em>Bangladesh</em><em> and </em><em>India</em><em>. Pitha can be sweet or savory, and usually made from a dough or batter, which is then steamed, fried or griddled. Few may be set or shaped after cooking.</em><em> The traditional foods are still in the cottage industry scale [2]. Small groups of youth have started commercialization of such traditional foods in cottage industry scale or someone has started individually. Hence, There is enough scope of growing such industry in large scale and there is every chance of having one such recopies of Pitha”s in near future.</em>
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Llanos, Pablo Martín. "El episodio de las Sirenas en Argonáuticas de Apolonio de Rodas: enriquecimiento cómico y aspectos metapoéticos." Co-herencia 18, no. 35 (2021): 79–99. http://dx.doi.org/10.17230/co-herencia.18.35.4.
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Así como en la Odisea el héroe en su viaje de regreso debe resistir al encanto de las Sirenas, en las Argonáuticas los héroes también deben superarlas en su regreso a la Hélade. Aunque los estudios bibliográficos advierten un cambio de tono entre el modelo homérico y el texto apoloniano (de siniestro a humorístico y erótico), consideramos que no han advertido su importante valor metapoético. Según nuestra lectura, el enfrentamiento entre Orfeo y las Sirenas por medio del canto representa la relación del nuevo poema con la tradición y retoma significados y funciones del episodio odiseico, donde se plantea una clara disputa entre Odisea e Ilíada, como lo demuestra el clásico artículo de Pucci (1979). En este sentido, es importante destacar no solo el tono, sino también la presencia de una dicción cómica en el episodio apoloniano, que representa el carácter no-épico de las Sirenas derrotadas por Orfeo.
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Anusuya, Mrs Behera, Rath Kalyani, and Jena Elina. "Effectiveness Of Music Therapy On Physiological Parameters Of Antenatal Mothers With Pregnancy Induced Hypertension In Obstetric Ward At Pbmh, Kims, Bhubaneswar Odisha." International Journal of Scientific and Research Publications (IJSRP) 11, no. 1 (2020): 249–53. http://dx.doi.org/10.29322/ijsrp.11.01.2021.p10926.
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Nayak, Debajani, Sharada Rastogi, and Om Kumari Kathuria. "Effectiveness of music therapy on anxiety level, and pain perception in primipara mothers during first stage of labor in selected hospitals of Odisha." IOSR Journal of Nursing and Health Science 3, no. 2 (2014): 07–14. http://dx.doi.org/10.9790/1959-03250714.
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Hidalgo, José Manuel. "El eunuco Luis como parodia de Polifemo en la Novela del celoso extremeño de Miguel de Cervantes." Hispanic Review 92, no. 2 (2024): 291–309. http://dx.doi.org/10.1353/hir.2024.a929141.
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RESUMEN: Este trabajo ofrece una lectura del personaje Luis de la Novela del celoso extremeño de Miguel de Cervantes en conexión con la figura del cíclope Polifemo del Canto 9 de la Odisea de Homero. El estudio de los elementos del vino, la música, el color negro de Luis, y su mula destapan una asociación sutil entre ambos personajes. Además, un estudio diacrónico del mito de Polifemo lo presenta enamorado de la ninfa Galatea. La no correspondencia amorosa de Galatea hace que Polifemo muestre su maestría a la hora de cantar sus desamores acompañado de su instrumento musical. Se presenta así una imitación literaria y paródica de este gigante que aparece ahora transformado en el eunuco Luis. Con todo, este ensayo muestra la adaptación letrada que Miguel de Cervantes hace de un conocido encuentro mítico y que brinda a sus lectores de manera oculta y jocosa. Abstract: This work offers a reading of the character Luis from the Novel of the Jealous Extremaduran by Miguel de Cervantes that connects him with the cyclops Polyphemus from Book 9 of Homer's Odyssey. This study of the elements of wine, music, Luis's blackness, and his mule, reveals a subtle association between both characters. In addition, a diachronic study of the myth of Polyphemus shows him to be in love with the nymph Galatea. Galatea's rejection of Polyphemus's love forces him to show his musical mastery, which he does by singing of his heartbreaks accompanied by his musical instrument. By these means, Cervantes introduces a literary and parodic imitation of Polyphemus, who now appears to be transformed into the eunuch Luis. This essay explores the literary adaptation that Miguel de Cervantes makes of a well-known mythical encounter which he offers to his readers in a hidden and humorous way.
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-, Himansu Sekhar Swain, та Bibhuti Bhusan Champati -. "A Comparative Study between “Chautishaa" ( चऊतिशा ) and “Chhaanda” ( छान्द ) of Odissi Classical Music". International Journal For Multidisciplinary Research 5, № 5 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.7762.
Full textAbstract:
India is a unique land of cultural traditions and raga music. People of different languages, castes, and communities of different states live here so its cultural traditions differ from other countries. "Odishi Classical Music" is the music of a rich tradition of ancient Utkala, Kaling, Odra, and Odisha State. It is one of the classical music of India which the government of its state has declared to reflect the uniqueness of singing based on its script. Odissi music is characterized by "neither fast nor slow" a piece of rhythmic and soulful high-pitched music. In general, Odissi music consists of Odishi-Champu-Chautishaa-Chhaanda-Pallavi-Gitgovinda-Bhajan-Janaana, etc. The lyrical compositions used in the singing of Odissi Classical Music are as highly sophisticated as the vocal compositions based on pure Indian raga and Taal. Chautishaa and Chhanda are the unique Chapter of Odissi Music and their comparative study is the main focus of my research.
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Nayak, Manoranjan. "IMPORTANCE OF ODISSI MUSIC IN ODISSI DANCE." PARIPEX INDIAN JOURNAL OF RESEARCH, November 15, 2019, 1–2. http://dx.doi.org/10.36106/paripex/5406689.
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Odissi music is the finest reconciliation of harmony with melody, which suffers no diminution of the essential quality of the classical music.The individual character of Odissi Music makes every recital an interpretation and self-expression. The unique identity of Odissi classical music lies in its presentation with equal importance to the Odissi dance and its classical ornamentation.Both Odissi music and Odissi dance have retained its distinctive identity in spite of the diversity in language, religion, and culture that was brought to Odisha's geographical localization by bridging the southern and northern section of India. It is ironic that Odissi music which is the soul of Gotipua dance still continue to endure the debate for its classical status whereas Odissi dance form has already attained the classical status along with its contemporary classical dance forms of India.
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-, Mamata Ojha. "The Evolution of Odissi Dance: from Temple Rituals to Modern Revival." International Journal For Multidisciplinary Research 6, no. 3 (2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i03.23324.
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Odissi dance, originating from the ancient temples of Odisha, India, has evolved from a sacred ritual performed by temple dancers (Maharis) to a renowned classical art form. This essay explores the historical progression of Odissi, highlighting key transformations, including the decline of Maharis and the emergence of Gotipuas—a class of boy dancers trained in acrobatics and religious expression. The 20th century marked a significant revival, spearheaded by figures like Kalicharan Patnaik and initiatives such as the Jayantika project, which standardized and codified the dance. Odissi's modern form integrates elements from ancient texts, temple sculptures, and regional music, characterized by its expressive storytelling (Abhinaya) and intricate movements. Today, Odissi is celebrated globally for its grace, emotional depth, and cultural richness, standing as a testament to the resilience and adaptability of this ancient dance tradition.
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-, Niladri Kalyan Das. "Evolution and Genres of Odissi Music." International Journal For Multidisciplinary Research 4, no. 6 (2022). http://dx.doi.org/10.36948/ijfmr.2022.v04i06.1287.
Full textAbstract:
Utkal, also called Odisha, the holy land of Lord Jagannath is known for its excellence in the sphere of the arts. The pursuit of excellence in art, sculpture, music and literature is one of the defining features of the Odishan culture. Rich in musical tradition, the fertile land of Odisha has produced rich harvest in the form of Odissi Dance and Music. Exuberance of human feelings has always sought expression either in rhythmic movements of the body or in melodious modulations of the voice. Historical evidences suggest that in Odisha, music and dance were being seriously pursued under royal patronage right from 2nd century BC and that by around 10th century A.D. Odissi music had crystalised into a distinctive classical form. The treatises unmistakably point to the fact that Odissi is one among the few schools of Indian classical music and it has a distinctive system of Raga and Taala and a characteristic style of rendition that is lyrical in it’s movement with wave like ornamentations. The tradition has always two components, the written and the oral. Of the many treatises written on this distinctive tradition of music, the bulk were written between 16th and 18th century. Five of these treatises, such as, Geeta Prakash, Sangeeta Narayan, SangetaKalpalataetc are now available in parts and two are in the form of palm leaf manuscripts.
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-, Niladri Kalyan Das. "Classicality of Odissi Music." International Journal For Multidisciplinary Research 5, no. 1 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i01.1330.
Full textAbstract:
All these singing acts of Odissi music are sung on the basis of some specific ‘gamak’. A particular vibration that is created by a tune (swara) is called ‘gamak’. It has been written in Sanskrit as such: “Swarasya kampai gamakah”. From this vibration of the tune only a style of the music is differentiated from other style of music and soon after listening we can come to know that which music belongs to what style. Similarly, in Odissi singing style also there are some particular vibrations of tunes called ‘gamak’, for which our Odissi style of singing bears a quite different identity among its other counterparts. It is noteworthy that the vibration act in music is solely general. But the language and conceptual difference, at the backdrop of regional and cultural distinction retain the importance of a particular style, irrespective of place.
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Kalyan Das, Niladri. "ORIGIN AND DEVELOPMENT OF ODISSI MUSIC: A HISTORICAL ANALYSIS." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, March 15, 2021, 31–33. http://dx.doi.org/10.36106/6205498.
Full textAbstract:
Music is the best of all the fine arts. Odissi music is a separate system of Indian classical music and is having all the essential as well as potential ingredients of Indian Classical form.The present form of traditional Odissi music is no doubt the outcome of the continuous evolution of the earliest Indian classical music.Music tinged with religion, attained mass appeal and royal patronage. As such the royal patronization of Art and Culture made the Odishan music so developed and enchanting for enjoyment of both Gods and Goddesses and human beings as well.This tradition is still continuous in its different manifestations.
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Dawn, Suma. "Understanding similarities and exploring possibilities of using somatic dance/movement aspects of Odissi dance for social, cognitive and emotional development in population with autism spectrum disorder." Journal of Dance & Somatic Practices, July 8, 2024. http://dx.doi.org/10.1386/jdsp_00116_1.
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Dance allows for expressions of various emotions and interactions. It can be used for entertainment and exercising, as well as for movement therapy, improving health and wellness, and promoting relaxation. It has been known to enhance mindfulness, well-being, healing of body and mind, etc. The key contributions of this work are as follows: (1) present an overview of Odissi dance elements; (2) aggregate certain studies that explore the relevance of somatic dance/movement therapy for neurodegenerative disorders such as autism spectrum disorders (ASDs); (3) exploring the many similarities between Odissi dance, an Indian classical dance (ICD) form, and somatic dance/movements; and (4) study the implication of using the Odissi dance form as a dance/movement therapy as an alternative rehabilitation tool for a population with neurocognitive disorders such as ASD. ICDs such as Odissi dance practices and somatic dance/movements have been found to have numerous similarities. There are many characteristics of the Odissi dance form that are relatable to somatic dance/movements. Somatic dance/movement praxis generically includes body, action, space, time and energy. These practices are a customary part of Odissi dance as well. The Odissi dance form also allows an in-depth examination of the human body, feelings and flow through music, beat tempo and lyrics. These practices help develop an awareness of the body, its connection and its movements. The fundamental elements of somatic dance/movements, such as mindfulness, breath, sensing, connectivity, initiation, rhythm, movement patterns, temperament depiction and mirroring, are also prevalent in Odissi dance. The various aspects of somatic dance/movement and Odissi dance are explored, and their similarities are investigated in this work. This study also explores having Odissi dance as an alternative rehabilitation therapy form for the population suffering from ASD conditions. Twenty-seven children suffering from some degree of ASDs, aged between 4 and 14 years, for six months, underwent regular Odissi dance training. The participants were taught Odissi’s basics and trained in Bhumi Pranam, Guru Pranam, Mangalacharan and the initials of Sthayee and Battu. Certified teachers and therapists were involved in teaching the participants. Interactions with participants and parents/guardians presented an intuition of the usefulness of regular Odissi dance practice. Feedback was aggregated from subjective questionnaires. These feedbacks indicated increased general health, including physical well-being, cognitive enhancement and sensory-motor coordination. Almost all also reported betterment in social conditions and certain presented clinical conditions.
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-, Himansu Sekhar Swain. "Analytical Study Between the Notation System of “V.N. Bhatkhande” for Hindustani and Basudeba Samant for Odissi Classical Music." International Journal For Multidisciplinary Research 5, no. 6 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.8775.
Full textAbstract:
In India, ancient and copious traditions of verbal discourse about music have been transmitted across the generations in writing, often long after the performing traditions with which they may have been connected have vanished or evolved out of all recognition. And they are almost always provided with examples in sargam. the syllabic notation that is still the basis of the various present-day Indian musical notation. The thirteenth-century sangeet Ratnakar and its sources are given lengthy examples in sargam notation. Pandit Vishnu Narayan Bhatkhande has provided six volumes of noted compositions in his kramika Pustak Malika (1913-37) which he took down in the sargam notation of his own devising from the noted artist of his day. At the same time in odisha, Shree Basudev Samant noted some odissi music compositions in his book Sangeeta Kalakar in a different notation style. This research paper has discussed all the signs and symbols of both notation styles and analyzed the similarities and differences.
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Dr Richa Thakur. "TRADITIONS AND SYMBOLISM IN INDIAN CLASSICAL DANCE." Nanotechnology Perceptions, December 7, 2024, 202–7. https://doi.org/10.62441/nano-ntp.vi.3675.
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Indian classical dance is a profound expression of the cultural, spiritual, and artistic heritage of India. Rooted in ancient traditions and religious practices, these dance forms such as Bharatanatyam, Kathak, Odissi, Kathakali, and Manipuri are not only performance arts but also vehicles for conveying symbolic meanings through movement, gesture, and music. This paper explores the rich traditions and deep symbolism embedded in Indian classical dance, focusing on elements like mudras (hand gestures), costumes, music, and the portrayal of mythological narratives. It examines how these dance forms communicate emotions, philosophical concepts, and divine stories through a combination of sacred rituals and artistic expression. By analyzing the role of these dances in both historical and contemporary contexts, this study demonstrates how Indian classical dance continues to preserve cultural values while adapting to the global stage, ensuring its enduring relevance. Through the lens of symbolism and tradition, this paper offers insights into the spiritual and cultural significance of Indian classical dance in both past and present societies.
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-, Amit Kumar Das. "Features of Odishan Tribal String Musical Instruments." International Journal For Multidisciplinary Research 5, no. 6 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.10808.
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According to Sangeet Ratnakar’s 6th chapter, the musical instruments are divided into four parts, such as Tat (string), Abanadha (covered with lether), Ghana (Metal) and Shusir ( Wind) . In the history of Indian music and culture, there are many string instruments name found from the Shastras and Puraans. Odhisha is know as the heart of the Indian tribal and folk culture. There are around 62 various tribal communities living in Odisha. Odishan tribal culture is prevalent among the tribal people of Odisha; majority of which is to be found in the tribal villages. The most important aspect of Odishan tribal culture is their music and dance. Each tribe has its own pattern of dance and music. They use different kinds of costumes and musical instruments to make their performance beautiful. Dance and music is an important part of tribal culture which being continued from the ancient times. The tribal music expressed the primal emotions of human being with simple words and simple tunes . Odishan tribal music as a whole reflects the rich cultural diversity. Although the pattern of music prevalent among them varies from tribe to tribe yet there are certain features common to all. Tribal music has even become more significant since it is an indispensable part of instrumental music especially in the context of blowing musical instruments. Odishan tribal string instruments are playing in perfect symphony.
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Khatua, Mamata. "A Study On the Art and Aesthetics of Kutia Kondh Tribe Of South Western Odisha." International Journal For Multidisciplinary Research 7, no. 3 (2025). https://doi.org/10.36948/ijfmr.2025.v07i03.44777.
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Abstract: Tribal art, which is a type of fine art, bold, abstract patterns that draw inspiration from nature, cultural practices and spiritual beliefs. It is indigenous and reflects tribal lifestyle. Indian tribal communities have a rich cultural heritage with unique art, music and festivals. Social structure in these communities often emphasizes kinship, with distinct roles for family members and elders. Odisha is one of the most tribal concentrated states of India. The central and eastern highlands of India are dominated by Kondh tribes having unique cultural identities. Their traditional art and crafts include pottery, weaving, jewellery making music, dance forms etc. associated with festival rituals. Understanding these dynamics is vital for appreciating their unique cultural heritage and the challenges they face in modern society. The Kutia kondh tribe of south-western Odisha belong to the PVTGs or particularly venerable tribes of Odisha. The study of their art, craft and aesthetic life is a very interesting phenomena which would bring to light many hidden aspects of their cultural life. Hence the preservation, protection and documentation of the same is very essential in view of the rapid modernisation and acculturation process that is gradually putting them under threat.
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Dandapat, Dr Shakti Shankar. "Niranjan Mohanty: Revisiting Kalahandi Through Odia-English Poetry." International Journal of Social Science and Human Research 7, no. 09 (2024). http://dx.doi.org/10.47191/ijsshr/v7-i09-12.
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Niranjan Mohanty is an Odia poet who chooses to write in English. This choice seems to have been prompted by his profession. Being a professor of English it perhaps became convenient for him to accept English as the medium of his poetry. Besides being a poet of humanity the flavour of Odisha is quite distinct in his writing. However vast may be his canvas but Odisha conveys a special resonance. The land, legends, music, myths of Odisha have received special attention from him. Though the form he adopts is foreign, the content on the contrary remains quintessentially his own. This form-content disparity does not offer his readers any sense of awkwardness. That sense of divide is never evident. He seems to have successfully bridged the apparently difficult gap. His poetry is incontestably simple but sometimes it appears to be simplistic. This paper is an attempt to express Mohanty’s humanism.
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De Castro, Manuel Antônio. "O Canto das Sereias: da escuta á travessia poética." Revista entreideias: educação, cultura e sociedade 8, no. 7 (2007). http://dx.doi.org/10.9771/2317-1219rf.v8i7.2790.
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A música numa sociedade de consumo e a música como Escuta. Interpretação do mito, do canto das sereias, da odisséia, do ponto vista mítico. O mito e a arte. O mito e o rito como linguagem e língua. Ulisses e o destino. O destino e a liberdade. A liberdade e o horizonte. O horizonte e a liminaridade. O apelo radical da Escuta e a experiência de vida como travessia poética. <br>
 <br>
 
 <B>Palavras-chave</B>: música-escuta, destino-travessia.<br>
 <br>
 <br>
 
 
 <B>Abstract</B>: Music in a consumption society and music as Listening. Interpretation of myth, of mermaid singing, of odyssey, from mythical point of view. Myth and art. Myth and ceremony as speech and language. Lysses and destiny. Destiny and freedom. Freedom and horizon. Horizon and threshold. The radical call of Listening and life experience aspoetic 
 crossing. <br>
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 <B>Key words</B>: music - listening - destiny – crossing.
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Barada Prasad Jena. "ROLE OF WOMEN IN THE DOMAIN OF TEMPLE PATRONAGE IN EARLY MEDIEVAL ODISHA." EPRA International Journal of Multidisciplinary Research (IJMR), April 5, 2022, 14–18. http://dx.doi.org/10.36713/epra9809.
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Studying the role of women in the domain of temple patronage in early medieval Odisha is a fresh trend of analysis in Odishan art history. In that male-dominated early medieval society, less number of epigraphs gives an account of the role of women in the religious sphere managing certain ecclesiastic matters. However, handful of donative epigraphs entails about their role as a temple builder, donor, temple staffs etc., who patronised those temples. Some queens were patronised to construct numerous remarkable temples in Odisha. Some inscriptional records refer about donation to brahmanic deities by several women belonged from various social and geographical background of the then society being an integral part of temple life. So many royal ladies built various brahmanical shrines and donated cash and kind to support in maintaining those temples. Temples were associated with music, dance, marriage and festivals etc. Therefore the role of women was very vital to study to understand the socio-cultural history. We have got references of different types of devadasis or temple girls in Madala Panji, who was associated with various kinds of ritual performance inside the temple premises. Likewise, other women temple staffs were there to perform their temple assignments, they were lady garland maker or kaula maluni, sweeper and milkmaid etc. Worthy and wealthy women donated various necessary items such as perpetual lamp, gold, land, milch animals e.g., cow, buffalo, goat and sheep etc for oil and other milk products. Along with temples, the female patrons established local markets or hattas, mandapas, stepped wells or vapi, additional shrines, roads and gardens for the smoother function of temples. In the domain of gift giving to gods and goddess, we have seen a sense hierarchy among patrons of various class and caste. Hence, this paper is aiming to analysis the less highlighted part of temple patronage that is the role of women as patron in the process of maintain and upkeep those temples of early medieval Odisha. KEYWORDS: women, patron, devadasi, kaula malani, queen, temple, music, dance, donation
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Yadav, Mantosh, and Stuti Pandey. "CONTRIBUTION OF FOLK ARTS IN THE PROMOTION OF INDIAN CULTURE." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.1059.
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In this research paper, I have attempted to explore the ancient recreational forms of Indian culture. These traditional art forms are deeply rooted in Indian cultura and they consists of various expressions such as music, dance, puppetry, and storytelling. These different forms of arts reflects a distinctive aspect of Indian art and culture, with folk art serving as a symbol of this rich cultural tapestry. Indian tradition has the greatest collection of songs, music, dance, stage performances, folk traditions, display arts, rituals, and ceremonies. Indian folk arts, which have flourished in regions like Madhubani, Bihar; Warli, Maharashtra; Gond, Madhya Pradesh; Bhil and Gond, Odisha; Patachitra, Kalighat; Kalamkari, Andhra Pradesh; Tanjore art; Mahabuliyas, Bundelkhand; Phad paintings, and more, symbolize country's rich cultural heritage. These folk arts have coexisted harmoniously for centuries which foregrounds special aspects of social development within Indian culture, underscoring local life and traditions in India. Moreover, the prospect of folk arts in the educational field is also important. Recognizing their contribution to the promotion and enrichment of Indian culture, the importance of preserving and enriching folk arts is emphasized in the conclusion of this research paper.
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-, Mr Dibya Ranjan Tripathy. "Dhuli Danda Nata– Representation of Socio-religious and Agricultural Life of the People of Western Odisha." International Journal For Multidisciplinary Research 6, no. 1 (2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i01.12172.
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Danda Nata is a widely known as a folk theatrical performance like a religious festival by the rural agricultural communities of the Western and Southern part of Odisha. It takes place once in a year at the beginning of April (Chaitra) and continues for a period of 13 or 21 days that culminates on Maha Visubha Sankranti. In this folk theatre not only dance, music and drama, but also an elaborate range of rituals are performed. It is a festival that dates back to the 8th-9th century AD during the reign of the Somavansi of Subarnapur and the Bhanjas of Boudh. It is thus a religious-theatrical festival participated by the tribal and non-tribal people without any caste discrimination. A day of performance comprises five different phases of Danda or punishment or penance namely, Dhuli Danda, Pani Danda, Agni Danda, Bana Danda and Suanga Danda. Dhuli Danda is performed on the ground in the afternoon under the hot sun of April. It consists of short sequences that represent a mixture of rituals, sports, military drill, exercise, yoga, fertility rites, sacred drama, divine possession, dance and other cultural performances. Physical exercises, pranks and ritualized sequences are combined with one another to form a fluid, though sometimes prove ambiguous, a perfectly dynamic structure. Danda Nata, thus, has played a vital role in the development of folk literature in western Odisha.
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Gudia, Jyotiranjan, and Tusarkant Pattnaik. "EXPLORING THE RICH TAPESTRY OF ART AND CULTURE: THE TRADITIONAL ARTS AND CRAFTS OF THE DIDAYI TRIBE IN MALKANGIRI DISTRICT, ODISHA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.1916.
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This article delves into the vibrant and diverse artistic heritage of the Didayi tribe, an indigenous community residing in Malkangiri District, Odisha, India. It explores the rich tapestry of traditional arts and crafts that define the cultural landscape of this unique tribe. From the intricate painting techniques that capture their mythological and everyday life, to the detailed craftsmanship in weaving, pottery, and bamboo work, the article provides an in-depth look at the Didayi tribe's artistic practices. Additionally, it examines the significance of music and dance forms in their cultural rituals and community events. By highlighting the influences of the geographical regions of Khairaput, Karukonda, and Chitrakonda, the article illustrates how these factors shape and preserve the Didayi's artistic expressions. Addressing the challenges faced in maintaining these traditions amidst modernization and globalization, it also underscores the ongoing efforts to preserve and promote this invaluable cultural heritage. Through this exploration, the article aims to foster a deeper appreciation for the Didayi tribe's rich artistic legacy and the importance of cultural preservation.
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Malik, Sankarsan. "PLACING WOMEN INTO THE HISTORY: DANCERS AND MUSICIANS AS REPRESENTED IN THE PALM LEAF PAINTING OF MEDIEVAL ODISHA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 5 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i5.2024.2288.
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Painting is an integral part of historical studies. In order to comprehend medieval women's history, it is essential to rely on paintings as there are insufficient sources related to the subject. Studying medieval Orissa, particularly women's history in Orissa, is challenging due to a shortage of sources and neglect towards women's history. Medieval painting is considered the most vital and rich historical source. Like literature, painting of the periods also holds the same value as archaeological evidence for historical reconstruction. The social and cultural aspects of society were represented in the paintings of that period. Medieval women were renowned for their contributions to music and dancing. The advancement of musical and dancing culture in ancient and medieval Orissa was largely due to the contribution of women. Palm leaf paintings, stone sculptures, and mural paintings have depicted them with clear visibility. The palm leaf paintings of medieval Orissa, which were produced in large numbers during these periods, depict women's talents and skill in playing musical instruments and dancing. This paper is intended to examine the role and status of women in society through the examination of palm leaf paintings from the medieval period.
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Tripathy, Dibya Ranjan, and Santosh Kumar Mallik. "DANDA NATA OF ODISHA: A CRITICAL ANALYSIS OF ITS CULTURAL AND RITUALISTIC DIMENSIONS WITH SPECIAL REFERENCE TO BOUDH." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (2023). https://doi.org/10.29121/shodhkosh.v4.i2.2023.4026.
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Danda Nata is a vibrant folk tradition celebrated in rural and tribal communities of Odisha, with Boudh district standing out for its unique variations. Held annually during Chaitra (March–April), the festival spans thirteen or twenty-one days and culminates on Maha Vishuba Sankranti. The celebration is marked by rhythmic drumming, energetic dance, dramatic acts, and comedic performances, blending spiritual rituals with theatrical expressions. Central to the festival are the devotees, known as Danduas or Bhoktas, who undertake vows of austerity and devotion, guided by the Pata Dandua or Pata Bhokta. The event unfolds in four phases: Dhuli Danda, Pani Danda, Agni Danda, and Suanga Danda. Each phase involves distinct rituals, physical endurance, and purification through sand, water, and fire. The final phase, Nrutya Danda, features dance, music, and satire. Boudh’s Danda Nata is distinct for incorporating Bandana, a devotional recitation, Dalapuja, a special puja performed before Meru, and Sola Suanga Danda Nata, which includes sixteen forms of dramatic and satirical performances. These elements add depth to the festival, blending humor, folklore, and religious themes. The worship of Lord Shiva and Goddess Kali ties Danda Nata to both Hindu and indigenous traditions. The performance, accompanied by instruments like the dhol, mahuri, flute, and mardal, remains a dynamic cultural experience. In Boudh, Danda Nata continues to evolve, preserving its spiritual and artistic heritage, making it a unique and living expression of Odisha’s folk traditions.