This dance tradition was kept alive by the devadasis. Those who were attached to the Jagannath Temple were all Vaishnavitcs and those at Bhubaneswar were attached to Shaivite temples. Before the introduction of the Gitagovinda in temples, the devadasi used to dance to the recitation of hymns and bols of talas. But after Gitagovinda became part and parcel of the rituals, tile devadasis performed abhinaya with different bhavas and rasas.

The different items of the Odissi dance style are Managlacharna, Batunrya or Sthayi Nata, Pallavi, Abhinaya and Moksha. In mangalacharana the dancer dedicates herself to the Lord and begs forgiveness of the Mother Earth for stamping her feet upon her; she apologises to her audience for any shortcomings and offers salutations to  the Guru.  Batu Nrytya is pure dance. It begins with  a series of sculpturesque poses symbolising the playing of the veena, drum, flute or cymbals. Pallivi is extremely graceful and lyrical. The tune is in some raga and is sung to the accompaniment of Sargam and Bols. Through facial expressions abhinaya depicts rasa and bhava to bring out the meaning and mood of songs. Generally  the songs written by poets, Banamali, Upendra Bhanja, Baladeva Rath, Gopala and Jayadeva are sung. Moksha Nrutya is the last item, performed to the accompaniment of rhythmic syllables. It has a fast tempo. The soul of the dancer is supi to merge with the Divine as the dancer becomes ecstatic. Odissi dance is an effort to come near God and experience true bliss