Odisha’s Ancient Gotipua Dance Fights For Survival As Guru And Gurukul Struggle Without Support

Puri: The rhythmic yet loud stamping of tiny feet can be heard across the narrow lanes of Raghurajpur even before sunrise inside a modest gurukul in Odisha’s heritage village Raghurajpur. Boys from the age of five or six bend their bodies into difficult postures, repeat acrobatic movements for hours and rehearse ancient verses - the ritual-like practice every other Gotipual dancer does before evolving as a performer. Sadly, Gotipua, the dance tradition believed to be the foundation of Odissi, is on the verge of fading into oblivion.

Gotipua guru Basant Kumar Maharana says it has been herculean to carry the legacy and heritage of the dance form forward across centuries. While Odissi dance enjoys global recognition and the classical dance form is celebrated on prestigious stages across India and abroad, backed by institutions, festivals and government patronage, Gotipua despite giving birth to Odissi now struggles for survival. "The absence of proper support, financial assistance and infrastructure is pushing this centuries-old tradition towards extinction," says Maharana who has been single-handedly running Abhinna Sundar Gotipua Nrutya Parishad, a Gotipua gurukul in Raghurajpur. He has dedicated his life to preserve the tradition and hone the new generation of dancers who show interest.

Classes at Gurukul in Raghurajpur (ETV Bharat)

Inside the gurukul, more than 55 children live, study and train in Gotipua dance. And Maharana not only teaches them dance but also takes responsibility for their food, education and daily needs. The children who are enrolled stay there free of cost. The guru manages expenses through the limited earnings generated from performances at cultural programmes.

But sustaining the gurukul is increasingly getting difficult for Maharana. “There is a need for encouragement because no one even talks about the dance form. It is the dance that gave Odissi its present form. It needs to be given the importance it deserves. But without support, no work can move forward,” says Maharana, adding that he is only trying to keep this art and tradition alive. "But how long can we continue without government assistance? Managing food, education and dance training for more than 50 children has become extremely difficult,” he further states.

Acrobatics movement in Gotipua form (ETV Bharat)

For the Gurukul, infrastructure is the biggest challenge. The children do not have proper hostel facilities. Financial constraints have prevented the gurukul from building adequate accommodation despite years of effort. Maharana alleges though he repeatedly approached officials of the state culture department and ministers seeking financial assistance, stipends for students and support for hostel construction, no concrete help came his way.

"I am hurt because of the neglect to such an important dance form. Gotipua is not a folk performance, it is something that is woven into Odisha’s cultural and spiritual history," he clarifies.

The word “Gotipua” literally means “single boy”. Historically, young boys dressed as female performers and enacted devotional dance traditions in temples. According to legends, the dance form emerged during the reign of King Prataparudra Dev around the 16th century. At a time when Devadasi performances faced disruptions during repeated invasions and social unrest, young boys were trained in feminine dance traditions to preserve temple rituals and artistic practices, Maharana explains.

A student showing his acrobatic skills (ETV Bharat)

Over time, Gotipua evolved into a highly disciplined art involving dance, acrobatics, music and abhinaya meaning enactment. The form became closely associated with rituals and festivals linked to Lord Jagannath, including Jhulan Yatra, Chandan Yatra, Dola and Rukmini Bibaha.

The influence of Gotipua on Odissi dance is immense. Many scholars and dance gurus believe the classical structure of Odissi drew heavily from the techniques, expressions and body vocabulary developed by Gotipua performers over centuries. Odissi dance guru Dr. Manmohan Sharma says the irony is stark and it hurts.

“Odissi evolved from Gotipua and became widely appreciated and famous. Today, Odissi receives recognition and encouragement at many levels, but the original source tradition remains neglected. It is high time the government sanctioned funds and encouraged Gotipua artistes and gurus. There is not even any award instituted for these dancers. Amid such a sad state of affairs, I am afraid, the next generation will not choose Gotipua,” he says.

Training in Gotipua demands years of rigorous discipline. Children often join gurukuls at the age of four or five and spend years away from home mastering the dance, songs and musical instruments. Usually practice sessions stretch for five to six hours. The art requires intense physical flexibility, stamina and expressions.

Prashant Kumar Maharana, a dancer who has been learning and performing the form for over two decades, says the initial years are extremely demanding. “We practice every day for hours. At first it is very difficult, but with constant training the body slowly adapts,” he says.

Dancers like Prashant have performed across India and abroad, but hardly got any support. Because of the lack of encouragement, fewer children are showing interest in learning the art, feel the practitioners.

Despite challenges of the Gurukul, students continue the rigorous practice and discipline of the traditional guru-shishya parampara uninterrupted.

For Basant Maharana, preserving Gotipua is not jut a point in the to-do list. He takes it as a responsibility inherited through generations. Son of renowned Gotipua guru Lakshman Maharana, he began learning the dance at the age of four. He later trained under Padma Shri Maguni Das and also received guidance from Padma Vibhushan Guru Kelucharan Mohapatra, one of the greatest icons of Odissi dance.

Over the years, he represented Gotipua dance at national and international platforms, taught in reputed universities abroad and conducted workshops across schools and colleges. Despite receiving recognition and awards from several organisations, sustaining the gurukul remains a daily struggle.

But every morning the practice resumes.

As per Gotipua tratition, boys tie ghungroos around their ankles, recite traditional compositions and rehearse movements. From among the Odissi repertoire, they perform music and mythology through chhanda, champu and chautisha, (these are forms) in which they narrate stories rooted in Jagannath culture and Odisha’s artistic heritage.

But Maharana says time has come when tradition alone cannot ensure survival. "We need institutional support, hostel facilities, stipends and sustained promotion. Otherwise Gotipua will cease to exist. A dance form that shaped one of the most celebrated classical dance forms now stands at a crossroads. We are a handful of gurus trying to keep the flame alive. But for how long can we do this,?" he questions.

But away from the concerns, within a moment, he excuses himself to be back among the students in the gurukul with enthusiasm, guiding and helping them finetune their performance.

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