I excavate my Odissi practice to trace the historical remnants of Mahari ritual practice. I improvize using a structured dance improvisation routine called Creative Articulations Process (CAP), proposed by dance-scholar Vida Midgelow, in order to find the embodied traces of traditional Mahari praxis within the Odissi repertory. Using CAP, I emphasize and accentuate these transmissions of temple-dancing in my body. This blog is an imbrication of my theoretical, technological, and practical inspirations that undergird my discovery of my Mahari in my dancing body.