An eminent director in Odisha's theatre, he was a witness to the transition by notable gurus of Odissi from comedian and acting roles to fledgling dance parts on the theatre stage, which became a nursery for the development of Odissi dance.

An important participant/witness of the regional theatre in Odisha. A prolific composer, choreographer and artiste. His knowledge and ability covered many disciplines, and he saw the growth of Odissi dance from its early days in the theatre, and the important role Gotipua dancing played in its growth.

A son of Raghurajpur, who became a highly eminent exponent of the mardala drum used in Odissi. He founded the Mardala Department of the Utkal Sangeet Mahavidyalaya. As a boy he was part of a Rasa Party, and later joined the Annapurna Theatre where he developed his skills as a percussionist. His most notable contribution was translating traditional vocalised bols into distinct sounds on the mardala.

Another son of Raghurajpur, who spent his early years in a Rasa Party as a musician. He is credited with bringing the Gotipua tradition to Raghurajpur in the 1970s, and founded its first Gotipua gurukul.

Son of Guru Pankaj Charan Das, who has maintained the Odissi legacy of his father's work, which drew its inspiration from the mahari tradition via his step-mother, Ratnaprabhakar Devadasi.

A very eminent Odishan vocalist known for his renderings of the Gita Govinda. He grew up in the shadow of the Jagannath Temple, Puri, and witnessed first-hand the dancing of maharis and Gotipuas, therefore enabling him to appreciate the influence both these traditions had on Odissi dance. He later married the celebrated Odissi dancer, Smt. Sanjukta Panigrahi, and they performed extensively together throughout their careers.