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==Dance== (詳細はOdissi dance and music are classical forms. Odissi has a tradition of 2,000 years, and finds mention in the ''Natyashastra'' of Bharatamuni, possibly written circa 200 BCE. However, the dance form nearly went extinct during the British period, only to be revived after India's independence by a few proponents, such as Guru Deba Prasad Das, Guru Pankaj Charan Das, Guru Raghunath Dutta and Kelucharan Mohapatra. Odissi classical dance is about the divine love of Krishna and his consort Radha, mostly drawn from compositions by the notable Oriya poet Jayadeva, who lived in the 12th century CE. ''Chhau dance (or Chau dance)'' is a form of tribal martial dance attributed to origins in Mayurbhanj princely state of Odisha and seen in the Indian states of West Bengal, Jharkhand and Odisha. There are three subtypes of the dance, based on the original places where the subtypes were developed. ''Seraikella Chau'' was developed in Seraikella, the administrative head of the Seraikela Kharsawan district of Jharkhand, ''Purulia Chau'' in Purulia district of West Bengal and ''Mayurbhanj Chau'' in Mayurbhanj district of Odisha. Mahari Dance is one of the important dance forms of Odisha. Mahari dance, originated in the temples of Odisha. History of Odisha provides evidence of the ''Devadasi'' cult in Odisha. Devadasis were dancing girls who were dedicated to the temples of Odisha. The Devadasis in Odisha were known as ''Maharis'' and the dance performed by them came to be known as ''Mahari Dance''. It was during the reign of Chodagangadeva, Maharis were employed in the temples of Puri. After Chodagangadeva's death, Ananabhimadeva built Natyamandapa in the Jagannath temple for the dance performances inside the temple. Moreover, in those days, the Mahari dancers belonged to different categories namely, the ''Nachunis'' (dancers), the ''Bahara Gauni'', the ''Bhitara Gauni'' and the ''Gaudasanis''. The Mahari Dancers of Odisha are supposed to follow certain restrictions, such as: * They cannot enjoy. * They should dance on the ceremonies connected to Lord Jagannath. * They should adhere to the specifications made by the Shastras. * They must always wear clean clothes. * The dancer cannot be physically handicapped. * At the time of the performances, the dancers are not supposed to look at the audience. * The Maharis are married to the Lord at the age of nine. * Before their performances, the Mahari dancers pay their obeisance to the Lord. In Odisha, one can also come across another type of Mahari dancers, who are known as ''Samarpada Niyoga''. The duty of the ''Samarpada Niyoga'' is to dance during the ceremonial procession of the deities. These dancers perform during the Ratha Yatra, Jhulana Yatra, Dola Yatra, etc. The Western Odisha has also great variety of dance forms unique to Odisha culture. The children's verses are known as "Chhiollai", "Humobauli" and "Dauligit"; the adolescent poems are "Sajani", "Chhata", "Daika", "Bhekani"; the youth compositions are "Rasarkeli", "Jaiphul", "Maila Jada", "Bayamana", "Gunchikuta" and "Dalkhai"; the work-man's poetry comprises "Karma" and "Jhumer" pertaining to Lord Vishwakarma and the "Karamashani" Goddess. The professional entertainers perform Dand, Danggada, Mudgada, Ghumra, Sadhana, Sabar–Sabarein, Disdigo, Nachina–Bajnia, Samparda and Sanchar. They are performed during all occasions with varieties of rhythm and rhyme. ''Pala'' is a unique form of balladry in Odisha, which artistically combines elements of theatre, classical Odissi music, highly refined Oriya and Sanskrit poetry, wit, and humour. The literal meaning of ''Pala'' is turn. It is more sophisticated than the other Oriya ballad tradition, ''Daskathia''. ''Pala'' can be presented in three different ways. First one is known as ''Baithaki Pala'' or `seated`, in which the performers sit on the ground throughout. The other one is ''Thia Pala'' or `standing`, which is considerably more popular and aesthetically more satisfying. The third one is called the ''Badi Pala'', which is a kind of ''Thia Pala'', in which two groups vie for excellence. This is the most entertaining, as there is an element of competition. Gotipua dance is another form of dance in Odisha. In Oriya colloquial language Gotipua means single boy. The dance performance done by a single boy is known as Gotipua dance. When decadence and declination came in to ''Devadasi'' or ''Mahari'' tradition due to various reasons this Gotipua dance tradition evolved as sequel as these performance were practiced to please God. It is totally unknown that when exactly this danced form came in to practice. Still some historians say that this dance tradition appears to have originated during the region of Prataprudradev (1497 CE to 1540 CE) and gained popularity in the subsequent Muslim rule. Ray Remananda the famous Vaishnavite Minister of King Pratapruda and ardent follower of Sri Chaitanya is the originator of this boy dancing tradition, as the Vasishnavas were not approving of the females in to dance practices so it possible that the dance tradition must have come after Sri Chaitanya came to Odisha. The Gotipua Dance Tradition is now seen in the village Raghurajpur situated 10 km away from Puri town, situated on the banks of river Bhargabi. It is otherwise known as the Crafts Village as various Odishan handicrafts’ craftsmen reside in this village contributing their expertise in Pattachitra painting and other handicrafts. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Culture of Odisha」の詳細全文を読む スポンサード リンク
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