Unit 7 Odissi
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How Modern India Reinvented Classical Dance
ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD. -
Part 05.Indd
PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
Some Thoughts on Odissi Dance*
Some Thoughts on Odis si Dance* DlNANA TH PATRY J. TH EO BSESS ION WIT H CLASS iCiSM n the Indian context there is nothing called classicism. The Sanskr it word shastriya, I which is generally believed to be a translation of'classic' or 'the classical', represents a misunderstanding ofboth the words. 'classicism' and shastriya. A shastra is a written text, a codified version of the practices of a given period which tri es to claim an authority in a subsequent period oflime. Dependence on the practice (prayoga) and later on the textual prescription becomes a tradi tion (jJarampara) with the peopl e who follo w it. While the shastra or the text remains constant, the practices that form the tradition become variables. Therefore, a need arises to write different texts in different periods oftime. To comprehend and contexrualize the variables in textual codifications, scholars resort to new interpreta· tions (commentaries) and such attempts finally emb ody regional aspirations. While there is a basic text like Narya Shastra, there are oth er texts like Nartananimaya I. Nartananim aya is a remarkable work in that it marks a transiti on al point in the evolution of dance in India. In contrast with its prec ursors in the field. which follow in the main the descriptions of danc es given by Bharata in Natya Shastra, the Nartananimaya describes entirely new forms. These new forms were shaped by regional styles that were not included. though their existence was acknowledged by Bharata, wh ich was term ed by his successors marga, that is, the main path . -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God. -
Paper on Expression of Advaita Vedanta Through Classical Music
Paper on Expression of Advaita Vedanta through Classical Music Advaitic kritis composed by Swami Dayānanda Saraswati (1930 - 2015) of Arsha Vidya Gurukulam -By Sonali Ambasankar Rarely will there be any person who has not heard of the kriti Bho Śambho Śiva Śambho Svayambho. Composed and written by Pujya Swami Dayānanda Saraswati (1930 - 2015), who established the Arsha Vidya Gurukulam, it is an immensely melodious and a much popular composition on Lord Śiva. So much is the popularity, that the song is sung by many a singer without even knowing the composer and the writer of these wonderful lyrics. It probably reflects the greatness of Swami Dayānanda ji as a teacher, where he wants the teaching to be remembered over the teacher, the song to be remembered over the composer. Swamiji composed many such Sanskrit kritis, in praise of different devatas. 19 kritis to be precise to be sung upon Gaṇapati, Someśvara, Śāradādevi, Mi̇̄nākśi, Ṣaṇmukham, Rāma, Govinda, Dakshināmurty, ĀdiŚankara and even on our dearest Bhāratavarsha. The last of his compositions was on Devi Jñāneśwari, in praise of the Veda, our Śruti māta. Across all his kritis, Swamiji has beautifully woven together Saguna and Nirguna Brahman. At first glance, these might appear as simple compositions like many others, sung as praises on different deities. But taking a closer look reveals a lot more. In the Bhagavad Gitā, Chapter 7, verse 16, Bhagavān Krṣṇā talks about the 4 bhaktas - ārta, arthārthi, jijñāsu and the jnāni. Each type of bhakta is seeking or connecting with Bhagavān through his own understanding of Bhagavān. ĀdiŚankara in his bhāsya on the Gitā says चतुवधाः चतुःकाराः भजते सेवंते मां जनाः सुकृतनः पुयकमाणः हे अजुन । आतः आतपरगृहतः तकरयारोगादना अभभूतः आपनः, िजासुः भगववं ातुमछत यः, अथाथ धनकामः, ानी वणोः तववच हे भरतषभ ॥ ७.१६ ॥ Swami Dayānandaji's compositions connect with each of these 4 types of bhaktas to his personal understanding of Bhagavān. -
Bridging the Gap: Exploring Indian Classical Dances As a Source of Dance/Movement Therapy, a Literature Review
Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-16-2020 Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Ruta Pai Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Art Education Commons, Counseling Commons, Counseling Psychology Commons, Dance Commons, Dramatic Literature, Criticism and Theory Commons, Other Arts and Humanities Commons, Other Languages, Societies, and Cultures Commons, and the Performance Studies Commons Recommended Citation Pai, Ruta, "Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review." (2020). Expressive Therapies Capstone Theses. 234. https://digitalcommons.lesley.edu/expressive_theses/234 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. BRIDGING THE GAP 1 Bridging the Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Capstone Thesis Lesley University August 5, 2019 Ruta Pai Dance/Movement Therapy Meg Chang, EdD, BC-DMT, LCAT BRIDGING THE GAP 2 ABSTRACT Indian Classical Dances are a mirror of the traditional culture in India and therefore the people in India find it easy to connect with them. These dances involve a combination of body movements, gestures and facial expressions to portray certain emotions and feelings. -
The Tradition of Kuchipudi Dance-Dramas1
The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance dramas. -
An Introduction to the Sattra Culture of Assam: Belief, Change in Tradition
Journal of Ethnology and Folkloristics 12 (2): 21–47 DOI: 10.2478/jef-2018-0009 AN INTRODUCTION TO THE SATTRA CULT URE OF ASSAM: BELIEF, CHANGE IN TRADITION AND CURRENT ENTANGLEMENT BABURAM SAIKIA PhD Student Department of Estonian and Comparative Folklore University of Tartu Ülikooli 16, 51003 Tartu, Estonia e-mail: [email protected] ABSTRACT In 16th-century Assam, Srimanta Sankaradeva (1449–1568) introduced a move- ment known as eka sarana nama dharma – a religion devoted to one God (Vishnu or Krishna). The focus of the movement was to introduce a new form of Vaishnava doctrine, dedicated to the reformation of society and to the abolition of practices such as animal sacrifice, goddess worship, and discrimination based on caste or religion. A new institutional order was conceptualised by Sankaradeva at that time for the betterment of human wellbeing, which was given shape by his chief dis- ciple Madhavadeva. This came to be known as Sattra, a monastery-like religious and socio-cultural institution. Several Sattras were established by the disciples of Sankaradeva following his demise. Even though all Sattras derive from the broad tradition of Sankaradeva’s ideology, there is nevertheless some theological seg- mentation among different sects, and the manner of performing rituals differs from Sattra to Sattra. In this paper, my aim is to discuss the origin and subsequent transformations of Sattra as an institution. The article will also reflect upon the implication of traditions and of the process of traditionalisation in the context of Sattra culture. I will examine the power relations in Sattras: the influence of exter- nal forces and the support of locals to the Sattra authorities. -
Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2020-2021 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
Padmashri Bharati Shivaji Along with Her Daughter Vijayalakshmi and Troupe Spell Bound Audience with Their Enriching Performanc
Public Relations Department, Chandigarh Administration www.chdpr.gov.in PRESS NOTE Padmashri Bharati Shivaji along with her daughter Vijayalakshmi and troupe spell bound audience with their enriching performance on traditional repertoire of Mohiniyattam at Shanti Kunj Festival Chandigarh October 14:- On the second day of the Shanti Kunj Festival of Classical Music and Dance, Padmashri Bharati Shivaji, famous Mohiniyattam danseuse, along with her daughter Vijayalakshmi and troupe spell bound and mesmerized the audience with their enriching performance on traditional repertoire of Mohiniyattam at the Shanti Kunj Garden, Sector 16, here today. It was inspiring to witness the concert having rich content, technique and spirit. Mohiniyattam has played a significant role in Indian art traditions and lends itself very well to the Indian ethos. Among all the classical Indian forms, Mohiniyattam is most suited for such a creative attempt. The choreography not only adds a dimension to the existing dynamic repertoire of Mohiniyattam, but is one of the first attempts of its kind in the genre of classical Indian dance as well. The content, sequence, tonality and other aspects of the music give it an unusual richness, complexity and lyricism making it a very challenging and stimulating experience to work on. The versatility of the Mohiniyattam coupled with its alluring beauty proved to be an ethereal and enriching experience for the audience. If ever the history of Mohiniyattam is written, the contribution of Bharati Shivaji to this exquisite & graceful dance form of Kerala would certainly be a special chapter. A rare combination of performer, choreographer, author & Guru, Padmashri Smt. Bharati Shivaji's name has today become synonymous with Mohiniyattam.