Understanding Rhythm in Odissi Dance Dr Rohini Dandavate
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Rhythm is referred to as tala in India. The Merriam Webster Encyclopedia
defines rhythm as “an ordered recurrent alternation of strong and weak elements
in the flow of sound and silence in speech”. Extrapolating from this definition, it
can be said that rhythm is a continuing pattern of sound which has a set structure
and pace. Intuitive to the understanding of the rhythm of life and nature people all
over the world have moved and danced to the flow of sound and silence, in
harmony and in discord. The people in Odisha were no different. In Odisha, a
State located in eastern India, Odissi dance and music evolved as a part of the
ritual services in the temple, where Maharis (women who dedicated their lives in
the service of God) sang and danced telling stories from Indian scriptures and
mythologies. The principal percussion instrument used in accompaniment to the
dance was the Mardala.
According to historical records, Odisha was conquered and ruled by various
kings and dynasties from the neighboring regions. With every changing rule, the
State’s geographical borders extended into adjoining areas bringing in different
cultural influences and religious beliefs. As a result, the arts of Odisha evolved
drawing from diverse influences. Charles Fabri in his article, Introduction to Orissi
Dance, wrote “her (odisha’s) dancing is obviously nearer to the Dravidian forms
of classical dancing (Tanjore, Melattur, Andhra), the Music that accompanies it is
not Karnatak but Hindustani in character”. (Marg, Vol XIII, Number 2 March
1960).
Therefore besides the traditional talas used in Odissi dance, we also see some
talas which are close to talas in Karnataki and Hindustani styles of Indian music.
The commonly used traditional talas in Odissi are known as Prachalita talas and
the not so commonly used talas are known as Aprachalita talas. To help build an
understanding of talas used in Odissi dance, it is essential to learn the Odiya
terms that are used to identify and notate each tala pattern. In the following
sections of this paper, I will define the termins used in discussing tala and explain
the basic tala patterns.
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Bols: Syllables used in the composition of a tala are known as Bols (in Odiya
language). These Bols have no meaning but resemble the sounds produced on
the mardala. Maharis passed on the bols to the Gotipuas, some of who became
Gurus of Odissi dance.
The study of tala for an Odissi dancer begins with the training of the basic steps
in the positions of Tribhangi and Chowka, the two main postures of the Odissi
dance style. Basic dance steps are practiced along with the recitation of the
Ukutas (phrases of Bols or syllables), which are counted with combinations of
gestures like a clap, a wave of the palm and fingers. During the training sessions
Gurus recite the bols with the playing of the mardala.
Names of fingers: The nomenclature for fingers in Sanskrit language is given
below. The same names are used while counting tala.
In Oriya In English
1. Angusht Thumb
2. Tarjani Index finger
3. Madhyama Middle finger4
4. Anamika Ring finger
5. Knishtha Little finger
Bhaga and Anga: Every Tala is made up of cyclical rhythmic patterns,
subdivided into sections known as Bhaga, and Anga is the use of physical
gestures to keep track of the structure of the tala, which can be of varying lengths
and speed. The beats (units or syllables) in each segment of tala are counted by
using the following 6 kinds of Angas:
1. Anadruta – 1 beat and the symbol is U. It is a clap of the hand
2. Druta – 2 beats and the symbol is o. it is a clap of the hand followed by a wave
of the hand
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3. Laghu – 4 beats and the symbol is I. It is a clap of the hand followed by
counting of the fingers; these counts could vary from 3 to 4 to 5 to 7 to 9, based
on the jatis i.e. 3 counts=tishra jati, 4 counts=chatusra jati, 5 counts=khanda jati,
7 counts=mishra jati, 9 counts=sankirna jati.
4. Guru – 8 matras
5. Pluta – 12 matras
6. Kakapada – 16 matras
Though there are six Angas, the three most commonly used Angas in talas
employed in Odissi dance are combinations of Laghu, Druta and Anadruta. E.g.
Jhampa Tala combines Laghu, Druta and Anadruta and Eka Tala is made up of
just Laghu.
Laya: Laya refers to the speed or tempo in which a tala is recited or played on
the mardala. The tempo of the recitation of the Bols (syllables) can be in Vilambit
laya (Slow tempo), Madhya laya (Medium tempo) or Dhruta laya (Fast tempo).
Typically, in a dance number the fundamental tala continues to be the same
while a change in the tempo for recitation is incorporated. The concept of laya is
introduced early on in the training while learning the basic dance steps set in the
tribhangi and chauka positions. These dance steps are performed in three
speeds or tempos by doubling and redoubling the tempo in recitation of the bols.
This doubling or redoubling of the speed is called as Laya Kriya. Given below is
an example of a tala (Ekatali) in three speeds.
Example of Laya in Eka tali
Vilambit laya
Clap Index finger Middle finger Ring finger
Ta Ri Khi Ta
Madhyam laya
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Clap Index finger Middle finger Ring finger
Ta ri khi ta Ta Ri Khi Ta
Dhruta laya
Clap Index finger Middle finger Ring finger
Ta Ri Khi ta Ta Ri Khi Ta Ta Ri Khi Ta Ta Ri Khi Ta
Matra & Kala: Each unit in a phrase of syllables is called matra. In the example
given above the count of matras in each cycle of the tala are four. Each matra is
also referred to as Kala. Generally the first matra is referred to as guru and the
following matras in the phrase are referred to as first kala, second kala etc. e.g.
In Ekatali tala Ta ri khi ta – Ta is referred to as guru, ri is the first kala, khi is the
second kala, and ta is the third kala. So ekatali tala has one guru and 3 kalas.
Kala is just another way of counting the syllables in a tala pattern.
Ansa: In Odissi music the word ansa refers to the point from which the song
begins in the tala pattern. E.g. If the dance is set to Ektali tala, the singer can
begin the song from the first, second, or in the third kala or even from guru.
Barna, bani or Pata: Syllabic representation of music on the mardala is known
as barna or pata. E.g. ta, da, Ka or ta. These words are also known as bani.
Ukuta: Syllables (e.g. dha, ta, dhi, jham, jhena) strung together to form a basic
rhythmic phrase is known as Ukuta.
Dharana: When a group of syllables are set in a tala and played on the mardala
following a certain flow & tempo it is referred to as dharana or theka.
e.g. in Jhampa tala
Dhati naam dhaga dhati naam
Tati naam dhaga dhati naam
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Chanda: is the way in which the syllables are divided. E.g. Both Rupak Tala and
Khemta Tala have a total of 6 beats but the division of the syllables differs and it
is as follows:
Rupak Tala – 2+4 while Khemta Tala is 3+3
Chanda is that element which provides the flow to the words in the song and the
syllables in the rhythmic pattern.
Sam: The first Matra (syllable or note) from where the tala phrase begins is
known as Sam. The symbol for Sam is an X. The Sam in a tala phrase can be
called guru, the first Matra (count) of the Tala.
Tali: The clap in a tala phrase is known as Tali. The Pratham Tali in a tala
phrase is also known Sam.
Khali: This word in the Odiya language means an empty space. In the counting
of Matras or Syllables in a rhythmic pattern, when an empty space or count is
added to set the meter in recitation, that empty space is considered as a count
and is called Khali. The symbol used to denote a Khali is: O.
Abagraha: The symbol used to denote an Abagraha is S. In writing tala
Abagraha is used to extend or fill in for the syllables to complete the count. E.g.
Tala- Eka tali Matra- 4 There is no Khali
TaSSSS StiSSSS Nakadataka Takadhini
Avartan: One cycle of a phrase of syllables is called an Avartan.
E.g. Dhi Na Ta Kita I
It is often repeated a number of times in a dance number and the symbol used to
denote completion of each cycle of syllables is: I
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Mana, Muktai or Tihai: The concluding phrase of syllables repeated three times
in the same tempo in a dance number is referred to as Mana, Tihai or Muktai.
and when the very last syllable ends on 'Sam' e.g.
Kittitaka tingine thei
Kittitaka tingine thei
Kittitaka tingine thei
Other commonly used phrases are:
Dha di gine dha
Tingine dha
Dhaa tingine dhaa
Dhaa kadataka dhadigine
Jhena kadataka dhadigine dhaa
Jati: Jati indicates the Laghu counts varying from 3-9 and are of the following
types:
1. Tisra Jati has 3 beats
2. Cathurushra Jati has 4 beats
3. Khanda Jati has 5 beats
4. Misra Jati has 7 beats and
5. Sankeerna Jati has 9 beats
The 7 parent Talas: Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, Eka can
incorporate one of the 5 Jatis. Table 1 on Sapta tala shows the 7 parent talas in 5
jatis making a total of 35 talas.
Gati: can be described as pulse in a beat or matra. The number of pulses in
each beat or matra changes depending on the laya. Elizabeth Hanley in her book
Asian Dance explains gati as:
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” the numerical relationship between the pulse and the beat, i.e.
how many places within each beat there are to sing a note, strike
the drum, slap the foot, etc.” .
E.g.
The five main Gati’s are Tisra, Catusra, Khanda, Misra and Sankirna. Gati is
practiced at increasing speed within each mathematical ratio”
1. Tisra gati: 3:1 6:1 12:1 etc.
(three subdivisions of each beat, doubled and redouble
repeatedly)
2. Catusra gati: 2:1 4:1 8:1 16:1
(two subdivisions, double/redouble)
3. Khanda gati: 5:1 10:1 20:1 etc.
4. Misra gati: 7:1 14:1 28:1 etc.
5. Sankirna gati: 9:1 18:1 etc.
Traditional Talas: The traditional talas as mentioned in the Odissi Path Finder
(Vol 1) are:
1. Ektali
2. Khemta
3. Tripata
4. Aditaal
5. Adatala
6. Jhampa
7. Ardhajampa
1. Ekatali- Each Avartan (cycle) of 4 Matras is counted with one clap and three
finger counts. It has one Bhaga (section). The Dharana (basic phrase) is as
follows:
1 2 3 4
Ta Tathi Naka thini I
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2. Khemta tala- Each Avartan of 6 Matras has 2 bhagas. The division of the units
is 3+3. Counting begins with a clap and two finger counts followed by a wave of
the hand (khali or empty space) followed by two finger counts. The Dharana is as
follows:
1 2 3 4 5 6
Dha Ti NDa I Ta ti NDa I
3. Tripata tala- Each Avartan of 7 Matras has 3 Bhagas. The division of units is
3+2+2. Counting begins with a clap and two finger counts followed by clap and
wave, clap and wave. The dharana is as follows:
1 2 3 4 5 6 7
dhai tathin daka I tathin daka I tathin daka I
4. Adi tala- 16 Matras (4+4+4+4) e.g.
1 2 3 4 5 6 7 8
Dhei Tathi Naka Thini I Naka Thini Naka Thini I
9 10 11 12 13 14 15 16
Tei Tathi Naka Thini I Naka Thini Naka Thini I
5. Adda tali – 14 Matras (4+3+4+3) e.g.
1 2 3 4 5 6 7
Dha Dha dhi na I dha dhi naa I
8 9 10 11 12 13 14
dha kadataka dhi na I ta dhi na I
6. Jhampa tala- Each avartan of 10 matras has 4 bhagas. The division of units is
2+3+2+3. Counting begins with a clap and wave, clap and two finger counts, clap
and wave, clap and two finger counts. The dharana is as follows:
1 2 3 4 5
Dhati Naam I Dhaka Dhati Naam I
10
6 7 8 9 10
Tathi Naam I taka dhati naam I
7.Ardha Jhampa Tala- Each Avartan is 5 Matras and has 2 Bhagas. The
division of units is 2+3.Counting begins with a clap and wave, clap and two finger
counts. The Dharana is as follows:
1 2 3 4 5
Dhati naam I Dhage Dhati Naam I
More talas namely Rupak Tala, Sariman Tala, Kuduk Tala, Yati, Asta and Matha
Tala are also used.
In “Tala Sarbasara Sangraha”(1896 AD) the author, Padmanava Narayan Deva,
writes that the seven tala system which is predominantly used in the Karnataka
style of music and dance, evolved from the tandava dance of Lord Shiva. Odissi
dance borrows some of the rhythmic patterns from the Sapta Tala system which
is as follows:
Table 1: Sapta Tala
Talas Jatis Representation
in Symbols
Tishra Chatusra Khanda Mishra Sankirna
Dhruva 3+2+3+3=11 4+2+4+4=14 5+2+5+5=17 7+2+7+7=23 9+2+9+9=29 IOII
Matya 3+2+3=8 4+2+4=10 5+2+5=12 7+2+7=16 9+2+9=20 IOI
Roopaka 2+3=5 2+4=6 2+5=7 2+7=9 2+9=11 OI
Jhampa 3+1+2=6 4+1+2=7 5+1+2=8 7+1+2=10 9+1+2=12 IUO
Triputa 3+2+2=7 4+2+2=8 5+2+2=9 7+2+2=11 9+2+2=13 IOO
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Ata 3+3+2+2=10 4+4+2+2=12 5+5+2+2=14 7+7+2+2=18 9+9+2+2=22 IIOO
Eka 3 4 5 7 9 I
Categories
of Tala
Tisra Jati
3 beats
Caturasra
Jati
4 beats
Khanda
Jati
5 beats
Misra Jati
7 beats
Sankirna
Jati
9 beats
Dhruba tala
1Laghu
1Drutam
1Laghu
1Laghu
One clap, 2
finger, clap
and wave,
One clap, 2
finger, One
clap, 2
finger
(3+2+3+3)
One clap, 3
finger, clap
and wave,
One clap, 3
finger, One
clap, 3
finger
(4+2+4+4)
One clap, 4
finger, clap
and wave,
One clap, 4
finger, One
clap, 4
finger
(5+2+5+5)
One clap, 6
finger, clap
and wave,
One clap, 6
finger, One
clap,
6finger
(7+2+7+7)
One clap, 8
finger, clap
and wave,
One clap, 8
finger, One
clap, 8
finger
(9+2+9+9)
Matha tala
1 Laghu
1Drutam
1 Laghu
One clap, 2
finger, clap
and wave,
One clap, 2
finger,
(3+2+3)
One clap, 3
finger, clap
and wave,
One clap,
3finger,
(4+2+4)
One clap, 4
finger, clap
and wave,
One clap, 4
finger,
(5+2+5)
One clap, 6
finger, clap
and wave,
One clap, 6
finger,
(7+2+7)
One clap, 8
finger, clap
and wave,
One clap, 8
finger,
(9+2+9)
Rupak tala
1 drutam
1 Laghu
Clap and
wave,
One clap, 2
finger,
((2+3)
Clap and
wave,
One clap, 3
finger,
((2+4)
Clap and
wave,
One clap, 4
finger,
((2+5)
Clap and
wave,
One clap, 6
finger,
((2+7)
Clap and
wave,
One clap, 8
finger,
((2+9)
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Jhampa
Tala
1 Laghu
1.anadrutam
1.drutam
One clap, 2
finger
count, clap,
clap and
wave
(3+1+2)
One clap, 3
finger
count, clap,
clap and
wave
(4+1+2)
One clap, 4
finger
count, clap,
clap and
wave
(5+1+2)
One clap, 7
finger
count, clap,
clap and
wave
(7+1+2)
One clap, 8
finger
count, clap,
clap and
wave
(9+1+2)
Atta tala
1Laghu
1Laghu
1Drutam
1Drutam
One clap &
2 finger
counts
& One clap
& 2 finger
counts &
clap and
wave &
clap and
wave
(3+3+2+2)
One clap &
3 finger
counts &
One clap &
3 finger
counts &
clap and
wave &
clap and
wave
(4+4+2+2)
One clap &
4 finger
counts
& One clap
& 4 finger
counts &
clap and
wave &
clap and
wave
(5+5+2+2)
One clap &
6 finger
counts
& One clap
& 6 finger
counts &
clap and
wave &
clap and
wave
(7+7+2+2)
One clap &
8 finger
counts
& One clap
&
8 finger
counts &
clap and
wave &
clap and
wave
(9+9+2+2)
Ek tala
1 laghu
One clap &
2 finger
counts
(3 beats)
One clap &
3 finger
counts
(4 beats)
One clap &
4 finger
counts
(5 beats)
One clap &
6 finger
counts
(7 beats)
One clap &
8 finger
counts
(9 beats)
In Odissi dance, Khandi is the smallest unit of dance. It comprises a phrase of
syllables set to a particular Tala. The example given below is made up of two
Laghus (8 beats) in Chaturasra Ektali (a four beat cycle)
1 2 3 4
Clap index finger middle finger ring finger
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Taka dha dhagine ta (I)
5 6 7 8
takadataka ta dhagadigene dha (I)
Arasa, in comparison to a Khandi, is a longer rhythmic composition in a given
Tala, and its length may cover one or more cycles of the chosen Tala. Arasas are
usually repeated three times and end on the first beat of the following cycle,
which is known as Sam.
Lastly, this paper is an introduction to understanding the rhythms used in Odissi
dance. This list of talas is not exhaustive and there are additional terms relating
to tala that are not included. Further information can be read in earlier texts and
manuscripts like the Abhinaya Darpana by Jadunath Sinha, which discuss ten
kinds of tala, the Natya Manorama by Raghunath Rath, which includes examples
of talas, and the Abhinaya Chandrika which discusses ascertaining of talas in the
section on dance. More recent Odiya publications, namely Sangeet Sangya by
Ramahari Das (1996), and Mardala Bigyan (2001) by Jagannath Kunwar, include
chapters on talas in Odissi dance.
In conclusion, I would like to mention that in the reconstruction process of the
form, while the basic vocabulary and technique of the Odissi dance style followed
the paradigms mentioned in the Natya Shastra, Gurus and scholars depended on
regional texts and manuscripts for preserving the uniqueness and flavor in the
form. Dance numbers in the Odissi dance repertoire continue to be set to
traditional tala patterns.
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Maestros: Guru Banamali Maharana and the Late Guru Kelucharan Mohapatra:
References
1. Das, Ramahari (1996). Sangeet Sangya. Kaishiki Publications,
Bhubaneshwar.
2. Kunwar, Jagannath (2001). Mardala Bigyan.Minati Bhanja, Bhadrak.
3. Sahoo, Itishree (2009). Odissi Music
4. Odissi Pathfinder Vol 1(1988). Odissi Research Center, Bhubaneswar.
5. Descutner, Janet W. (EDT)/ Hanley, Elizabeth A. (2010). Asian Dance.
Chelsea House Pub (L)
6. Anand, Mulk Raj (Ed.) (1960). Marg Magazine. Marg
Publications,Mumbai.
7. Pathy, Dinanath (2007). Rethinking Odissi. Harman Publishing House,
New Delhi.
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Websites:
Orissa Reference Annual 2005orissa.gov.in/e-
magazine/orissaannualreference/ORA-2005/pdf/odisi_dance.pdf
Personal Notes: The Ukutas and tala patterns are from the class notes given by my Gurus during training in Odissi dance in Kala Vikas Kendra, Cuttack. My Gurus were Guru Kelucharan Mohapatra, Guru Raghunath Dutta and Guru Ramani Ranjan Jena.
Acknowledgment:
Rahul Acharya, leading Odissi exponent
Shri Ramprasad Ganavarappu, leading Mardala player
Author
Rohini Doshi-Dandavate holds a doctoral degree in Cultural Policy
and Arts Administration from the Ohio State University and presently resides in
San Francisco, CA. She earned her graduate degree in Odissi dance from Kala
Vikas Kendra, College of Indian Dance and Music, Cuttack, India. Her gurus are
Guru Kelucharan Mohapatra, Guru Raghunath Dutta, Guru Ramani Ranjan Jena,
and Dr Menaka Thakkar.
As an artist in the Arts in Education Program of the Ohio Arts Council, she has
conducted workshops and lecture demonstrations in Odissi dance for students in
schools and colleges in Ohio since 1994. She offers courses in Odissi dance in
educational institutions and community organizations. Rohini’s research
papers/articles are posted at www.scribd.com/rohinidandavate