As Odissi Evolves From Ancient Temples to Global Stages, Questions About its Essence Remains

In the sacred halls of Indian classical dance, few forms capture the divine essence of movement and spirituality quite like Odissi. Born from the ancient temples of Odisha, this classical dance form has traversed centuries, carrying within its graceful movements the profound philosophical depths of Hindu scriptures and the earthy devotion of temple traditions. What began as a sacred offering to Lord Jagannath has evolved into one of India's eight recognised classical dance forms, enchanting audiences worldwide with its fluid movements, intricate footwork, and deeply expressive storytelling.

Today, as the world becomes increasingly interconnected through digital platforms and global cultural exchanges, Odissi finds itself at a fascinating crossroads—maintaining its traditional roots whilst embracing contemporary relevance. 

From Temple Halls to Stages of The World

Odissi nearly died during British rule when temple dancing was banned. The art survived through Gotipua tradition, where young boys performed in villages. In the 1950s, scholars and dancers like Guru Kelucharan Mohapatra brought it back from temple sculptures and old texts.

The revival worked. From Odisha, Odissi spread across India as teachers established schools in major cities. "I come from a family of artists. I grew up watching my aunt, Madhavi Mudgal ji, practice Odissi in her studio. Therefore, it was natural for me to take it up," says Arushi Mudgal, a professional performer who is well renowned across the fraternity and was selected as one of the Top Ten Dancers of 2018 by the New York Times.

Others came from different backgrounds. Shalakha Rai, a post-graduate who has been learning under Guru Madhavi Mudgal since 2001 and teaches at Gandharva Mahavidyalaya, explains: "In my family, no one had ever learned Indian classical music, dance, or instruments. I am the first girl to have learned this." Her entry at age nine shows how Odissi expanded beyond traditional artistic families.

Rahul Acharya, who was the first male Odissi dancer to receive the Ustad Bismillah Khan Yuva Puraskar, tells a different story: "My cousins and sister were learning, so after returning from school nobody was available to play because they'd all gone for dance class. So my elder cousin brother and I started visiting the class." What began as curiosity became a lifetime's work.

The Digital Revolution and Odissi's Global Spread

The guru-shishya parampara (teacher-student tradition) remains important but has changed. Mudgal reflects: "The guru-shishya tradition has changed over the years. Earlier, students would live with the guru at their house. Today, institutional training has gained importance."

Rai emphasises the depth of traditional learning: "It's not just dance - you learn how to behave, how to stand on stage, how to make your entry. You learn about costumes, makeup, jewellery, timing." Students must understand the literature behind compositions: "Which poet wrote it, what the story might be."

Technology changed everything. Rai notes: "Earlier, when I started learning, the internet and technology weren't available. Now everyone has internet access." COVID-19 pushed this further: "Since online learning platforms started, like classes on Zoom or Google Meet, many things have changed. Now, anyone can join classes from anywhere."

This created global communities of students. Key figures helped this expansion. Padma Shri Kiran Sehgal established her dance academy, Pallavi, in New Delhi, while Sharon Lowen, an American who came to India in 1973 as a Fulbright scholar, has performed and taught Odissi across continents. International schools like Srijati Arts offer online Odissi training globally, while institutions like Mrudanga Dance Academy in Toronto nurture the authentic Odissi tradition in Canada. In London, schools like Nritya Kala Academy in Isleworth teach Odissi alongside other classical forms.

But this growth brings challenges. Mudgal observes: "There is more attention paid to the presentational aspect of Odissi now. While we find more technically brilliant dancers today, I find that emphasis on the external aspect sometimes leads to a lack in the 'soul' of the dance."

The dance form itself has evolved. Traditional themes now sit alongside contemporary social issues. Dancers explore environmental concerns and personal narratives within classical structure. "I believe art will find relevance as long as there is humanity. People find their own truths in Odissi, and the form continues to cater to widely ranging creative needs of artists across the world," Mudgal says.

Yet modern life creates problems. Mudgal identifies the main issue: "The main challenge is the distracted world we live in today. Everything needs to be in a flash now. Success, even in the arts, is measured by the number of followers today."

Students want quick results. Rai explains: "There's a lack of patience in both parents and children. There's no shortcut - you can't learn for a few days and complete the work through some shortcut." School schedules don't help: "Their school and college hours are quite long, so they can give less time to practice."

The Economic Renaissance

Odissi has transformed from a temple ritual into a thriving cultural economy. Professional dancers now command substantial fees for performances, with established artists earning between ₹50,000 to ₹2 lakh per solo recital. Teaching has become equally lucrative, with senior gurus charging ₹3,000-10,000 per month for private lessons.

The ecosystem also supports an entire network of professionals—costume designers specialising in traditional silk saris and temple jewellery, live musicians who accompany performances, makeup artists skilled in classical techniques, and cultural event managers. Acharya notes the financial viability: "By the time I was doing my master's, my career was already done. I mean, mostly there was not much of a competition, there were not too many dancers and amongst the whole lot I was probably the youngest and I've been very very pampered by the fraternity."

Major festivals have become economic powerhouses, generating millions in revenue and employment. The Konark Dance Festival alone attracts over 100,000 visitors annually, boosting Odisha's tourism revenue significantly. Dance academies have evolved into substantial businesses—leading institutions employ 15-50 teachers each, serve hundreds of students, and generate substantial annual revenues.

The Odissi world, however, today has become an industry. Major institutions like Gandharva Mahavidyalaya in Delhi, Kalakshetra in Chennai, and Nrityagram in Bangalore employ teachers, musicians, and costume designers. Annual festivals like the Konark Dance Festival bring tourists and create platforms for new artists.

The Question of Essence Remains

But commercialisation raises concerns. Does market pressure compromise artistic quality? The push for shorter performances and visual appeal worries purists.

Online learning creates new problems as well. Can virtual learning replace the subtle corrections that happen in person? Some worry that contemporary themes might dilute the classical essence. Others argue that evolution is natural and necessary.

Practitioners remain hopeful but realistic. Mudgal wants to explore more: "There is still much to be explored in Odissi. There are various texts I would like to interpret through the form. I also want to explore it through multiple bodies in an ensemble."

But big questions remain unanswered. Can digital platforms really transmit the subtle aspects of classical training? Will visual spectacle eventually overshadow spiritual depth? How will guru-student traditions survive as institutional learning grows?

Rai sees inspiration in young dancers: "Seeing many dancers gives inspiration. We learn a lot from watching their programmes and videos." Yet she worries about shortcuts: "These Indian art forms teach patience first, because no matter how much you hurry, it doesn't work that way."

The authenticity challenge grows larger. Mudgal states: "Art created with honesty and passion will find its takers. Younger generations are looking for something that fulfils them beyond the superficial level. As an artist, I feel responsible to present my art with honesty and make it accessible without playing to the gallery."

Can Odissi keep its spiritual core while reaching global audiences? The form's ability to adapt has helped it survive, but each change brings new dilemmas. Will contemporary innovations enhance or weaken its essential character? As this ancient dance continues evolving, only time will show whether tradition and modernity can truly coexist.