Tahia: Odissi’s beautiful headgear
The Hindu
The intricately-crafted tahia replaced the use of fresh flowers as hair ornament
How does one distinguish Odissi from other Indian classical dance forms? Certainly because of its unique hair accessory, known as tahia, that is also the most striking aspect of Lord Jagannath’s annual Rath Yatra, when Jagannath and his two siblings, Subhadra and Balaram, don tahia as their crown.
“It has been an integral part of the temple tradition and later became the most attractive feature of the Odissi costume,” says Rupashree Mohapatra, Puri-based Odissi dancer, known as the lone exponent of the reconstructed Mahari dance style.
“Like the dance form, tahia has also evolved from Mahari, which originated in temples and was performed by hereditary dancers. They used to wear trisikha tahia (designed with three sticks),” she says.

The ongoing Print Biennale Exhibition at Lalit Kala Akademi, Chennai, unfolds as a journey far beyond India’s borders, tracing artistic lineages shaped by revolution and resistance across Latin America and nNorthern Africa. Presented as a collateral event of the Third Print Biennale of India, the exhibition features a selection from the Boti Llanes family collection, initiated by Dr Llilian Llanes, recipient of Cuba’s National Award for Cultural Research, and curated in India by her daughter, Liliam Mariana Boti Llanes. Bringing together the works of 48 printmaking artists from regions including Mexico, Cuba, Argentina, Brazil, and Chile, the exhibition is rooted in the socio-political upheavals of the 1980s and 1990s. It shows printmaking as both a political and creative tool, with works that weave stories across countries and continents.












