Over the centuries three schools of Odissi dance developed: Mahari, Nartaki, and Gotipau. The Mahari tradition is the devadasi tradition; this is the use of women who are attached to deities in the temple. The Nartaki tradition is the school of Odissi dance which developed in the royal courts. Gotipau is a style characteristed by the use of young boys dressed up in female clothing to perform female roles.

Odissi dance was held in high esteem before the 17th century. Nobility were known for their patronage of the arts, and it was not unheard of for royalty of both sexes to be accomplished dancers. However, after the 17th century, the social position of dancers began to decline. Dancing girls were considered to be little more than prostitutes, and the "Anti-Nautch" movement of the British brought Odissi dance to near extinction.

Independence brought a major change in official attitudes toward Indian Dance. Like the other classical arts, dance was seen as a way to define India's national identity. Governmental and non-governmental patronage increased. The few remaining Odissi dancers were given employment, and a massive job of reconstructing the Odissi dance began. This reconstruction involved combing through ancient texts, and more importantly, the close examination of dance posses represented in bas-relief in the various temples.

There were a number of people who were responsible for the reconstruction and popularisation of Odissi dance. Most notable are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan Das, Guru Mahadev Rout, Guru Raghu Dutta, and Guru Kelu Charan Mahapatra.

Style

There are a number of characteristics of the Odissi dance. The style may be seen as a conglomeration of aesthetic and technical details. Odissi is characterized by fluidity of the upper torso (the waves of the ocean on the shores of Puri) and gracefulness in gestures and wristwork (swaying of the palms), juxtaposed with firm footwork (heartbeat of Mother Earth). All classical Indian dance forms include both pure rhythmic dances and acting or story dances. The rhythmic dances of Odissi are called batu/sthayi (foundation), pallavi (flowering), and moksha (liberation). The acting dances are called abhinaya.

One of the most characteristic features of Odissi dance is the Tribhangi. The concept of Tribhangi divides the body into three parts, head, bust, and torso. Any posture which deals with these three elements is called Tribhangi. This concept has created the very characteristic poses which are more contorted than found in other classical Indian dances.

The mudras are also important. The term mudra means "stamp" and is a hand position which signifies things. The use of mudras help tell a story in a manner similar to the hula of Hawaii.

Themes

The themes of Odissi are almost exclusively religious in nature. They most commonly revolve around Krishna. Although the worship of Krishna is found throughout India, there are local themes which are emphasised. The Ashtapadi's of Jayadev are a very common theme. Although incorporating a range of emotions and mythologies, the eternal union of Radha and Krishna (Gita Govinda) is central to the abhinaya in Odissi Dance.

Music

The musical accompaniment of Odissi dance is essentially the same as the music of Odissa itself. There are various views on how the music of the Odissi relates to the music of greater North India. It is usually considered just another flavour of Hindustani sangeet, however there are some who feel that Odissi should be considered a separate classical system.

There are a number of musical instruments used to accompany the Odissi dance. One of the most important is the pakhawaj, also known as the madal. This is the same pakhawaj that is used elsewhere in the north except for a few small changes. Other instruments which are commonly used are the bansuri (bamboo flute), the manjira (metal cymbals), the sitar and the tanpura.