Odissi - or the continued tradition of Odra Natya dates back to the 2nd century, BC. It is the complete embodiment of pure (nritya) and interpretative (nrutya) dance. This dance is based on religion and mythology, an impulse that is both spiritual and aesthetic. Odissi combines a soft lyrical style, highly sensuous in form but is also rigorous and challenging to execute with control and precision. The balance of stasis and dynamics is at the core of this form. Sensuous and spiritual, it has the ability to portray erotic sentiments in a deeply reverential manner. Odissi is a highly stylized dance with tribhanga or the 'three-bend' attitude of Hindu sculpture. Inextricably linked with religious movements throughout Orissa's history, Odissi is resplendent with traces of Buddhism, Tantrism (Buddhist & Bhramanical), Saivism and Vaisnavism.

Linked with the ancient tradition of female temple dancers (devadasi, Mahari) - Maharis grace the history of Odissi. Consecrated into the service of the temple, Maharis danced only for the Lord Jagannath, unseen by the public eye. Maharis and devadasis inspired the intricate, erotic and sublimely sensuous temple carvings seen all over India today. By the 16th century, there were three kinds of dancers in Orissa: the Maharis in the temples, the Nachunis in the royal court, and the Gotipuas (young boys) in the gymnasiums - who performed for the public. Kings of the many dynasties that ruled Kalinga (modern day Orissa) did much to cultivate and enrich this beautiful art form.

Odissi was codified post-independence and today has established itself as a premier classical dance form. The Odissi of today is a reconstruction from the fragments of the mahari tradition, gotipua tradition, bandh-nritya tradition of martial arts, chhau tradition of tribal dance and the inspiration drawn from sculptural reliefs and pictorial images.