Odissi Dance/ Sira Bheda (Head Movements)

Shira Bheda (Classification of Head movements in Odissi Dance) Shira in Sanskrit means the Head, so Head movements are called Shira Bheda. The head movements refer to the head positions, while at the same time expressing a particular bhava (feeling), are used in Indian classical dance. There are nine (9) classifications of head movements according to Natyashaastra.

1. SAMA

2. UDBAAHITA

3. ADHOMUKHA

4. AALOLITA

5. DHUTA

6. KAMPITA

7. PARAABRUTA

8. UTKHIPTA

9. PARIBAAHITA

1. Sama – Motionless, straight, still. Applications: Used at the beginning of an act, dance, performance. Inaction, pride, anger, frozen, affection

2. Udbaahita – Head is raised upward. Applications: Elevating, looking up at the sky, top of the mountain, a flag, birds, the moon, etc.

3. Adhomukha – Head is facing downward. Applications: Shyness or modesty, falling asleep, sorrow, bowing, fainting, or simply looking down at an object.

4. Aalolita – The head is moving in a circle, either clockwise or anti-clockwise. Applications: Sleepiness, feeling dizzy, intoxicated uncontrollable laughter.

5. Dhuta – Head faces directly from side to side, staying level. Applications: to say no, astonishment, empathy towards others, glancing at one's own limbs.

6. Kampita – The head shakes up and down. Applications: To agree, to say "come here", "sit down", cautioning, questioning, and Expressing indignation.

7. Paravritta (Parabruta) – When the head turns directly backward…looking over the shoulder (either side). Applications: To show back behind you, to show someone's hair, to show anger or any other intense emotions.

8. Utkhipta – The face moves diagonally up..making a figure 8. Applications: Saying "come here", or "take this".. shaking the head, satisfaction.

9. Paribaahita – Tilting the head from one side to the other (without turning the face). Applications: Passion, sorrow, dreamy mood (dreaming of the beloved), pensive.

Artists - Roji Swain, Debasmita Muduli, and Amina Boussemha Voice, Video, and Editing- Jagyandatta Pradhan