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Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> | Traditional Odissi repertoire sequence starts with an invocation called ''Mangalacharana''.<ref name="NettlStone1998p520 ">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter|display-authors=etal|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=520 }}</ref> A ''[[shloka]]'' (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an [[avatar]] of Vishnu), the meaning of which is expressed through dance.<ref name="NettlStone1998p520 "/> Mangalacharana is followed by ''Pushpanjali'' (offering of flowers) and ''Bhumi Pranam'' (salutation to mother earth).<ref name="NettlStone1998p520 "/> The invocation also includes ''Trikhandi Pranam'' or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).<ref>{{cite book|author=Catherine B. Asher|title=India 2001: Reference Encyclopedia|url=https://books.google.com/books?id=F_BtAAAAMAAJ|year=1995|publisher=South Asia Book|isbn=978-0-945921-42-4|page=6}}</ref> | ||
The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38–39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38–39}} | The next sequential step in an Odissi performance is ''Batu'', also known as ''Battu Nrutya'' or ''Sthayee Nrutya'' or ''Batuka Bhairava''.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38–39}} It is a fast pace, pure dance (''nritta'') performed in the honor of [[Shiva]]. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.<ref name="NettlStone1998p520 "/>{{Sfn|Kapila Vatsyayan|1974|pp=38–39}} | ||