The repertoire of Odissi not only consists of dance items to present in a solo program but also represents a process in training, a process in following the spiritual path of Odissi where the Guru (teacher) is like the spiritual mentor, and a process in maturity. Today, a full traditional solo program consists of a Mangalacharan to begin the program, possibly Batu Nrutya, one or two Pallavis, one or more Abhinayas and Mokshya to conclude. Group dance dramas have gained increasing popularity in Odissi. In Odissi, as in the other Indian classical dance styles, the dances are classified as nritta (pure technical dance with no meaning), nritya (expressional dance having meaning), and natya (drama).

1. Mangalacharan

Mangalacharan marks the entrance of the dancer on stage in the Odissi style. The dancer invokes the blessings of the presiding deity, Lord Jagannath (the Lord of the Universe) for an auspicious beginning. The dancer offers salutations to Mother Earth, the teacher, the accompanists, and the audience. The central piece of the item is a prayer in praise of a Hindu God or Goddess.

In the Traditional Training Path
Mangalacharan begins as an invocational prayer in praise of the Hindu Lord Ganesh, the remover of all obstacles.

2. Batu Nrutya

Batu Nrutya or Batu, the second item of the Odissi repertoire, is a basic example of nritta or pure dance. In this dance, particularly, the interrelationship between temple sculptural art and Odissi dance is established with an array of sculpturesque poses taken directly from the innumerable dancing sculptures adorning the temples of Orissa. These poses are stringed together with steps in different rhythms.

In the Traditional Training Path
The Guru and student take an oath, Batu Mantra, for the training and molding of the student's body to perform the technique in the form of the first pure dance.

3. Pallavi

The third item, Pallavi, is a nritta or pure dance like Batu. However, Pallavi differs from Batu in that it is more music oriented. Pallavi means elaboration. It is applicable here not only to the dance but to the music which accompanies it. Pallavi is woven with a series of lyrical movements bringing out the elaborate grace and charm of Odissi.

In the Traditional Training Path
In Pallavi, the technique blossoms in the dancer as he/she shows mastery and artistry in the Odissi technique.

4. Abhinaya

Abhinaya, the fourth item of the Odissi repertoire, is mime or nritya using a most intricate language composed of facial expressions, hand gestures, and through the use of the body. The dancer vividly depicts a song or poem. Although some Abhinayas are devotional songs, often the love theme or srngara rasa is explored between a nayaka and nayika (hero and heroine) usually Lord Krishna and Radha. For many centuries, the Odissi repertoire in the temple solely consisted of songs from the Gita Govindam, which the temple dancing girls (Maharis) would sing and dance to for the pleasure of the Lord. Gita Govindam is a famous poem, written in 12th century by poet Jayadeva, a great devotee of Lord Jagannath. Gita Govindam consists of 24 ashtapadis (8-versed songs), telling the story of Lord Krishna and Radha, showing their love in physical separation and finally in spiritual unification.

In the Traditional Training Path
The dancer achieves expertise in expression through the vivid portrayal of songs in Abhinaya.

Nava Rasa (Nine Moods)

There are 9 moods or sentiments in Indian classical dance, called rasas. They are: srngara (love), hasya (laughter), karuna (sadness), raudra (anger), vira (pride), bhayanaka (fear), bibhatsa (disgust), adbhuta (wonder), and shanta (peace). Rasa is two-fold, experienced by the dancer and the audience. Situations are depicted using the state of the rasa, called bhava.

5. Mokshya

The fifth and final item of the Odissi repertoire, Mokshya, parallels the concept of Mokshya or liberation in Hinduism, in which the dancer attempts to attain liberation or salvation in the ultimate surrender to God through dance. Mokshya is a fast paced dance of ecstacy.

In the Traditional Training Path
In Mokshya, the dancer uses the technique to dance with ecstatic joy, eventually to release him/her from it and unify with God.

6. Dance Dramas

Since the revival of Odissi dance, the dance style has seen the addition of a new form -- the dance drama. The glory of the Odissi dance drama form banks upon the style's expressive and sculptural characteristics. It is particularly effective in displaying the love of a nayaka and nayika (hero and heroine).

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