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Home , Aruna Mohanty, Danda Nata, Gangadhar Pradhan, Kichaka, Kumkum Mohanty, Mayadhar Mansingh

PAPER 6 IN TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.)

MODULE 11 DANCE DRAMAS IN

All performing arts evolved together simultaneously. Dance & drama are no exception. As they are complementary to each other, they are clubbed together to receive the maximum advantage. Incidentally Bharat’s is on Drama with chapters on Laxana / त 車डव ऱऺण encompassing Dance Elements. Initially there were dance sequences in the drama & dialogues (Bachika Abhinaya / व चिक अभिनय) predominant the dance presentations. Accordingly, they were called Nataka / न टक, / ज त्र & Geeti-Natya / गीतत- न 絍य etc. Latter on dance, drama & music were practised individually to improve their potentials. But they were put together frequently to get the best audio- visual result. They are named Dance Theatre if they are dominated by dialogues& other features of Drama and Dance dramas if dominated by dance. But the elements of dance & drama merged in requisite proportions to create the right ambience named Dance Dramas.

In the Time of Prataprudra Deva Maharis / प्रत ऩ셂द्र देव मह रर also began to take part in sacred dance dramas. (Page 122 – “The Dance

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Orissi” by Mohan Khokar & Ashish Khokar) The first Dance drama could be credited to Jagannath Ballav Nataka / जगन्न थ ब쥍ऱव न टक directed and scripted by Ray Ramananda Pattanayak the illustrious minister of King Prataprudra Deva. It was written in Sanskrit revolving around the love play of Radha . As he took the services of for the performance, it is natural a fair amount of dance movements must have been incorporated. It was very short & mainly based on Bhakti rasa. The union of Radha Krishna was portrayed in four lines with Bhanita in the Fifth scene. These lines were the dialogues of Madanika. Then for entertainment, professional Theatre Parties came in to existence who tried constantly to incorporate new elements, and better their productions with unique light, sets etc. for the rasikas. In the early Forties they had tough competition with the cinema. They engaged female artistes, Dance teachers, Dancers in their productions. Dance was introduced before the beginning of each play, also where it will be suitable in the middle of the drama. / गु셁 ऩ車कज िरण द स introduced a short dance sequence before each Play. In 1945 at Annapurna B group a mini dance drama Bhasmasura / िस्म सुर was presented before the Play Devi. / के ऱुिरण मह ऩ त्र played , Laxmipriya Mohapatra / ऱक्ष्मीप्रप्रय मोह ऩ त्र – Mohini & Mayadhar Rout / म य धर र उत – Vishnu- Narayana. Pankaj Charan choreographed it & also played the role of Vasmasura. This could be credited as the foundation of drama.

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Modern Dance dramas in were inspired by Prahalad Natak / प्रह्ऱ द न टक , Rasa Leelas / र स ऱीऱ , Bharat Leela / ि रत ऱीऱ ,

Suanga / स㄂ग, Mogul Tamasa / मुग़ऱ तम श , Geeti Natya / गीतत न 絍य, Sahi Jatra / स ही ज त्र , Danda Nata / ड車ड न ट & Jatra / ज त्र . Baishnaba Pani / बैशन ब ऩ नी brought revolution in Jatra with his numerous Geeti Natyas. Mohan Sunder Deva Goswami made Rasa Leela an attractive entertainment. The dance greatly influenced by these two dance theatres- Rasa Leela & Geeti Natya shaped the dance dramas. Their brief stints at theatre parties helped them to portray the drama element adequately with . After the independence all most all the girls’ schools & colleges, (though few in numbers then) included dance & music in their extracurricular activities & give much importance to them. The parents of higher-middle class families took great interest in nurturing art & culture & encouraged their children to perform on stage. The theatre companies were established & have dance repertoire. Moreover, dance teachers tried to pursue this career to add to their earning. Though Odissi was not yet recognised and in a rudimentary stage the dance teachers taught Manipuri, , Creative and Folk along with Odissi. The name Odissi was later given by Kabichandra Kalicharan Pattanayak / कबबि車द्र क ऱीिरण ऩट्टन यक. Odissi dance grew as a classical form. All the scholars like Mohan Khokar, Jeevan Pani, Charles Fabri, Dhiren Pattanayak, Gurus – Pankaj Charan Das, Kelucharan Mohapatra, , Dayanidhi Das, Mayadhar Rout, Mahadeva Rout, Raghunath Dutta

3 and Bata Krushna Sena, along with Gurus & Maharis under the leadership of Kabichandra Kalicharan Pattanayak contributed to reconstruct today’s Odissi. There was a cultural renaissance in Odisha. All most all the associations, organisations & influential persons took it as their task to uplift the cultural scene encouraging dancers and dance teachers to give the best of their creativity. There was a diligent attempt to present Odissi to the people outside Odisha and to give Odissi Dance the recognition of classical Status. Several dance, music & drama institutions were established. All the dance lovers who wanted that Odissi Dance should be recognised as a classical dance, formed an association – Jayantika / जय車ततक (earlier named as Nikhil Utkal Nrutya Shilpi Sangha) where they chalked out the style, repertoire, costume etc. in the year 1957. Some of them also vowed with their blood in front of Chandi / ि車डी – that they will adhere to one uniform style. The leading Oriya Daily carried a column “Rupa Rasa Chhanda” on culture. Priyambada Mohanty, Dhiren Pattanayak & Sushama Tej performed at Youth Festival & received recognition. The dance came to the notice of Hungarian Dance Critic Mr Charles Fabri. He was a critic of the Statesman then. Finally, Odissi was recognised as a classical dance in 1961. But before that much care was taken to propagate Odissi dance in the form of dance dramas as well as an independent presentation. Dance Dramas were presented frequently involving many choreographers, dancers with extravagant sets & lights.

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There were several organisations particularly in Cuttack produced dance dramas. Kumara Utsava Samiti, Utsav, BhanjaJayanti, Bishuba Milana etc. presented dance dramas regularly. , , Sadhana Bose, Krishnapriya Nanda, Sushama Tej, Ashima Panda (Mishra), Rita Biswala (Mishra), Sudipta (Tikili), Nandita Mohanty (Chhabi), Pushpa Banerjee, Joshi, Kukumina Mohantyetc took part as dancers. Govinda Tej directed & choreographed many of the dance dramas. Script was written by , Narayana Pratap Singh & Kabichandra Kalicharan Pattanayak. There were many dance choreographers – Kelucharan Mohapatra, Mayadhar Rout, Raghunath Dutta, Batakrushna Sena, Dayanidhi Das, Pankaj Charan Das etc. All of them were engaged in choreographing Dance dramas for different organisations, schools & colleges. Dance Schools Nrutyana, Smruti Kala Mandapa, National Music Association & Kala Vikash Kendra ushered the way to present many modern dance dramas, sometimes clubbing Odissi with Kathak, , Chhau & other dance forms. Much attention was then given to stage craft, sets, props & light. Dutta was the best light man at that time and Srakar brothers were in charge of makeup. Radhanath Training College, Cuttack along with its sister organisations - Training School & Practising Girls School presented at least one dance drama in a year. Dharani Kanya & Buddha were great success in early sixties. Music by Sunakara Sahoo, Dance by Guru Raghunath Dutta and script was written by Gobardhan Pattanayak. Ashima Panda (Mishra), Debjani Sahoo were in the lead roles. Practising Girls school, Ravenshaw Girls School, Buckley Girls School, Sailabala Women’s College also presented many

5 dance dramas as their annual event. Other organisations who volunteered to present dance drams in Cuttack were Jatiya Granthagar, National Sporting Club and many others. Shirama Chandra Bhanja Medical College Cuttack also presented Grand Dance Dramas for celebrating different occasions like medical conferences. The then station director of All India Radio Cuttack P.V. Krishnamurthy also took great interest and took all sorts of initiative to present high class dance dramas under the auspices of All India Radio Cuttack, which was established on 28.01.1948. Guru Kelucharan Mohapatra choreographed Mahanadi, Chandrika and Konark Jagarana in 1958, Anadi Sangeeta in 1959 for All India Radio Cuttack. Utkal Sangeet Samaj is considered to be the oldest institution established in 1933 headed by Shinghari Shyam Sundarkar, who was an institution himself. National Music Association is considered to be the oldest institution dedicated to promote Music, Dance & Drama was established in 1943*. Adinarayana Kundala, Sunanda Pattanayak, were in music section. Mahadeva Rout, Debaprasad Das, Buddhadeva Bhattacharya (Kathak), Chinmoya Lahiri (Kathak) were engaged in teaching. Kala Vikash Kendra founded by Babulal Joshi was another leading organisation established in 1952.Mayadhar Rout, Kelucharan Mohapatra, Raghunath Dutta, Balakrushna Das, Raghunath Nanda, were the teaching faculty.

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Batakrushna Sena taught at Smruti Kala Mandapa & Dayanidhi Das at Nrutyana. All this institutions & Gurus were engaged in presenting Dance Dramas. In 1954, Manini was choreographed by Guru Debaprasad Das, credited as the first Odissi Dance Drama. Where he played Krishna & Sushama Tej performed Radha.

In 1957 the dance drama Maniniwas / मणणतनव स presented at Delhi (page 252The Dance Orissi). This was a production of National Music Association. Kabichandra Kalicharan Pattanayak wrote the script in Odiya Language. Music was by Balakrushna Das orchestration and musical effect by Pandit Mishra. Flute was by Hariprasad Chaurasia. Sushama Tej, wife of Govinda Tej was Radha. Sushama Tej was proficient in both Odissi & Kathak Dance. The dance choreography as well as lead role Krishna was enacted by Guru Deba Prasad Das. The overall direction was by Kalicharan Pattanayak. It was a great success and latter presented at Allahabad, Madurai, Kanpur, Enakulam, Srikakulam and Trivandrum. The second production was – an ambitious mega Production involving around one hundred fifty performers. It was held at Barabati Stadium on a three tyre stage. But the dance choreography did not stick to Odissi only. It was choreographed by Chinmoya Lahiri mostly in Kathak style. Other productions by National Association includes Sarata Rasa & Shree Radhika were also choreographed by Debaprasad Das was presented at Delhi & at other states. Debaprasad Das also choreographed Lanka Dahan / ऱ車क दहन ,

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Pancha Bati/ऩ車ि बती , Jatayu Baddha/जट यु बध Kanchi Bijoya/क 車िी बबजोय etc.

Guru Pankaj Charan Das is credited to choreograph Glani Samhara /

嵍ऱ नी स車ह र , Mati / मतत / म ती, Srusti / सष्ृ टट & UshaVilash / उष प्रवऱ स. His Glani Samhar is a story of Dasavatar written in Odiya by Atulya Mahakuda & music by Bala Krushna Das. It is considered as a master piece and performed till now by Odissa Dance Academy. Usha Vilash was another mega production presented at Mukteswar Festival in 1985. He was assisted by . Nandita Behera, , Meera Das, Bijoyini Satpathy & others participated. Kala Vikash Kendra is credited to produce a large number of Dance dramas during fifties & sixties under the able guidance of Kelucharan Mohapatra & Mayadhar Rout. Kelucharan Mohapatra choreographed Sakhi Gopal / सखी गोऩ ऱ (1953) **, Arit Santan /

अररत स車त न (1954), Pancha Puspa / ऩ車िऩुटऩ (1957), Neela Madhav / नीऱ म धव (1957), Poojarini / ऩुज ररणी (1958), Kumar Sambhaba / कु म रस륍िव (1959) for Kala Vikash Kendra. Tapaswini / तऩष्स्वनी (1961), Meghdoot / मेघदतू (1962), Singhal Kumari / भसघ車 ऱ कु म री (1962), Braja Leela / ब्रजऱीऱ (1963) were composed by both Mayadhar & Kelucharan.

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To celebrate ’s birth anniversary Kala Vikash Kendra decided to present Tapswini. This work is considered a classic. Gauri Kumar Bramha, the then secretary of Odisha Sangeet Natak Academy provided a copy of the Book. Nilamadhaba Bose wrote the screen play by placing the original poetry of Meher. Around 30- 40 musicians were engaged. Balakrushna Das composed the music. Hariprasad Chaurasia was the flautist. Rakhal Mohanty, Sashirekha Pattanayak, Bhagabati Charan Ghosh, Padmaja Patnaik, Chitra Sawant, Indira Rai provided vocal accompaniment. Kelucharan Mohapatra, Jaykrishna Kali and Kailash Chandra were on Pakhwaj/ऩखव ज & other percussion instruments. Amar Bose head of the department of stage craft & lighting of Rabindra Bharati University, designed the light. Ashim Bose, a well-known artistes & theatre personality designed & prepared stage props & sets. The stage was never before a three tyre, four dimensional revolving stages. Mayadhar Rout played Rama’s role, Kumkum Mohanty Sita & Harekrushna Behera played Ravana. Hare Krishna Behera played Ravana in Kathakali style which was very much appreciated. The choreography was jointly by Kelucharan & Mayadhar. It was a sensational production people till now cherish it in their memory. Similarly, another mega dance drama Meghdoot was choreographed in Odissi & Kathak style. Mayadhar Rout was Jakshya and Kumkum Mohanty paired with him as Jakshya Priya / जक्ष्य [प्रप्रय . Hare Krushna Behera was Megha / मेघ (Clouds) & Tandra Goswami was

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Bijuli / बबजुऱी (Thunder). The mehga & bijuli dances were choreographed in Kathak style.

In 1962 Kala Vikash Kendra decided to present Lavanyabati / ऱ वण्यवती based on Kabisamrat ’s Lavanyabati. Neela Madhab Bose wrote the script, music by Bhubaneswar Mishra & Balakrushna Das dance choreography was by both Kelucharan & Mayadhar. In the lead roles were Krishnapriya Nanda & Mayadhar.

A dance drama Shree Krishan Charita / श्री क्रिटण िररत written by Narasingha Mohapatra, music by Bhubaneswar Mishra dance choreography was jointly by Kelucharan Mohapatra & Mayadhar Rout. Kumkum played Krishna, Mayadhar –Kamsa. It was first presented at Bhubaneswar on the occasion of Gandhi Jayanti in 1964. Same year it was presented at Birla Matoshri Sabhaghar, . Similarly, Smruti Kala Mandap under the guidance of Batakrushna Sena presented Mathura Mangala / मथुर म車गऱ , Pranaya Ballari/प्रणय ब쥍ऱरी & Labanyabati etc. Dayanidhi Das choreographed Parinaya for Nrutyana. For these the music was composed by Gopal Panda, Arjun Samal, Mrinalkanti Pattanayak. The lead roles in dance were played by Ashima Mishra (Panda) Rita Mishra (Biswal) &Pushpa Banerjee. Cuttack was the cultural capital & the dance dramas were not restricted to Oriya Language only. In 1961 ’s Birth Centenary was celebrated with much pomp & style in four to

10 five organisations. It was well supervised by Soumendranath Tagore &other members of Tagore family came to supervise the preparation. On behalf of Kala Vikash Kendra Leela was presented at Saheed Bhavan on 26th December 196. Adopted from Bhanu Singher Thakurer Padyabali / ि नुभसघ車 ेर ऩ饍य वऱी it portrayed also the bala leelas –Makhan Chori & Kaliya Damana etc. choreographed by Kelucharan Mohapatra & Mayadhar Rout & assisted by Raghunath Dutta, Harekrushna Behera, Debabrasad Das & Nilamadhab Bose etc. Music by Balakrushna Das & Rakhal Mohanty orchestra conducted by Hariprasad Chaurasia.

Another dance drama Chitraganda / चित्र 車गद was presented at Rabindra Mandap Bhubaneswar. Where Sadhana Bose played Kurupa, Sanjukta Panigrahi was Arjun. The songs were translated to Oriya in the same meter. It was sung by Anim Kar & others. Sangeet Mahavidyalaya was established in Bhubaneswar in 1964. was appointed as the principal in 1966. Debaprasad Das & Pankaj Charan Das were teaching staff there. Together they choreographed Dehi Padapallab Mudaram / देहह ऩदऩ쥍ऱब मुद रम music was by Balakrushna Das & script was by Kabichandra Kalicharan Pattanayak. Another dance drama Katha Kuha / कथ कु ह was also choreographed on the story of Konark Temple. There was ample scope to demonstrate pure Odissi in this drama. Kumkum Mohanty joined Sailabala Women’s college as a lecturer in 1968 & choreographed dance dramas & dance ensembles. One such was Pancha Par / ऩ車िऩरी, without a specific story line it was about

11 five fairies choreographed in five styles of dances Odissi, Kathak, Bharatnatyam, Folk & Oriental style. The Paris were named according to the colour of their dress Golap Pari performed in Kathak by Alok Bohidar (Kanungo), Neela Pari in Odissi by Pushpa, Sabuja Pari by Ashima in folk style, Haladi Pari by Aparajita Mishra in Bharatnatyam and Rita Biswal was sweta pari and danced creatively. The seventies saw Odissi dance grooming more for solo presentations and group dances rather in dance dramas. The costume, repertoire, style of dance & music was all metamorphosed in par with other classical dances & taste of the connoisseurs. Kala Vikash Kendra organised summer workshops under Kelucharan Mohapatra dancers from all over India & few foreign students joined. The dance became stronger.

In early seventies Jangyaseni / जन्गय सेनी was staged by Sailabala Womens College choreographed by Ramaniranjan Jena. This dance drama displayed many characters of . Aloka Bohidar (Kanungo) was Draupadi, Sani Das was sutradhar.

Guru Kelucharan Mohapatra choreographed Kanchi Vijoya / क 車िी प्रवजोय for Nrityaniketan Delhi to the music of Bhubaneswar Mishra in 1970. was Padmabati, Hare Krishna Behera Gajapati Purusottam Deva, Nayak was Manika Gaudini & KumkumLal (Mathur) was Jaganntah. Sree Neelachala Seva Sangha started regular classes in Odissi by Mayadhar Rout & presented two dance dramas Sreekshetra & Konark.

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In 1975 Guru Kelucharan Mohapatra choreographed Geeta Govinda in Hindi to the tune of Pandit Jasrajat Mumbai. Jaya Dheer was Radha & Madhvi Mudgal was Krishna. He presented original Sanskrit Geeta Govinda for Padatik Dance centre, Kolkata in 1982 in the open air theatre. Latter it was presented at Mukteswar Festival 1985 & travelled to Russia. During Seventies & Eighties Doordarshan Kendra Cuttack, Kalavikash Kendra, Triveni Kala Kendra and Nupur Dance Academy produced many dance dramas written by Gobardhan Pattanayak. They were Janaki Kumar, Kanchi Kaveri, Shiva Dhanu Bhanga, Pashanu LuhaJhare, Basantaraas, Gopara Koli , Kanchi Kaberi, Radhika., Kichaka Baddha, Amrutasantan, Banshi Chori, Srabana Kumar, Santha Kabir, Pitei Sabaruni and many others. These were choreographed by Raghunath Dutta, Kishore Mohanty & Mayadhar Rout. Music was by Maheswar Rao, Balakrushna Das, Bhubaneswar Mishra & others. After the of Orissa Research Centre in 1984 Kumkum Mohanty made it a point to produce at least one dance drama to be presented at Konark Dance festival. Geeta Govinda / गीत गोप्रव車द , Kanchi Abhijana / क 車िी अभिजन , / एकऱव्य, Dushmanta

Shakuntala / दश्ु म車त शक車ु तऱ , Dasanana / दश नन, Jageswari / जगेस्वरी, etc. were choreographed by Guru Kelucharan during his stint at ORC now this institution is named by his name Guru Kelucharan Mohapatra Odissi Research Centre.

As much as credit goes to Kumkum / कु मकु म for producing dance dramas that much is also due to Susama Tej. Wherever she got

13 posted as lecturer, or principal she encouraged dancers & produced many dance dramas. Particularly when she was at Rama Devi Mahila College, Bhubaneswar she produced brilliant Dance dramas, which are remembered till today. Harekrushna Behera, Gangadhar Pradhan, Durga Charan Ranbir, Ramaniranjan Jena also enriched and added more to the long list of dance dramas. Harekrushna Behera choreographed Bhanu Singh Padyavali (1984), Shreya Chandaluni / श्रेय ि車द ऱुनी (1991), , Durgati Nashini / शक車ु तऱ , दगु तग त न भशनी (1993), Champu / ि륍ऩू (1987), Yuge Yuge Jagannath / युगे युगे जगन्न थ (1993), Labanayabatee / ऱ बन य बती (1995), Dasaavataar / दस वत र (1996), Madhur Milan /

मधुर भमऱन (1997), Urvashi / उवगशी (1998), Kalinga Vijaya / कभऱ車ग प्रवजय (1999), Bhramar Geet / भ्रमर गीत (2000) Shri Jayadev / श्री जयदेव (2001) Gangadhar Pradhan choreographed Konark Leela / कोण कग ऱ स्य ऱीऱ by which is very much appreciated. Ramani Ranjan Jena choreographed Jhanja / झ車ज , Kataka Baimunda /

कटक बैमुन्द , Aa Mo Sakala Aamosanja / आ मो सकऱ आमोस車ज , Sri Gopinath / श्री गोऩीन थ , Ramanandini / र मन ष्न्दनी देवद सी, Anarkali / अन रकऱी etc.

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Durga Charan Ranbir choreographed a wide variety of dance dramas regularly from 1983. Bharatiya Nari / ि रतीय न री (1983),

Nilamadhab / तनऱ म饍हब (1984), Purnimanjali / ऩुतनमग 車जभऱ (1985), Kanchi Abhijan / क 車िी अभिजन (1986), Rutu-Ranga / 셁तु-र車ग (1980), Shakuntala / शक車ु तऱ (1989), Abhishapta Konark / अभिशप्त कोन कग (1989), Balagopalstaka / बऱ गोऩ ऱ टटक (1991), Bahni Snana / बहनी स्न न (1992), Gita-Govinda / गीत -गोप्रव車द (1995), Navagraha / नवग्रह (1995), Ramacharita / र मिररत्र (1997), Aditya Archana / आहदत्य अिगन (1998, Duration - 30 minutes); Original Text: Sanskrit verse “Stotramala / स्तोत्रम ऱ” depicts prayers to Lord Surya; Music: Guru Shri Ramahari Das, New York Ramayana (2000, Duration - 2 hours); Original Text: Traditional; Depicts story of Ramayana, composed along with Burmese and dance forms; Music: Guru Shri Ramahari Dash & Sukanta Kundu; Out of 13 scenes, 6 scenes were choreographed in Odissi style. Pancha Deva Sthuti / ऩ車िदेव स्तुतत (2005), Nabadha Bhakti / नवध िष्तत (2006), Sapta Matruka / सप्त

म तकृ (2007), Budha / बुध्ध (2008), Kumara Sambhava / कु म र स車िव (2009), Shakti Chatustaya / शष्तत ितुस्त य (2010) Krushna Darshan / कृ टण दशगन (2010), Tala Utpati / त ऱ उत्ऩतत (2011), Surendra Nath Jena, Srinath Raut, Shankar Behera, Rabindra Atibuddhi, Niranjan Rout, Naba Kishore Mishra, Muralidhar Majhi, , Ratikanta Mohapatra, Ramli Ibrahim, Maneka

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Thakar contributed to the Odissi dance drama considerably. Naba Kishore Mishra & Kedar Mishra write dance drama scripts in Oriya whereas Nityananda Mishra write in both Sanskrit & Oriya. Till now most of the dance schools, academic institutions in Odissa at least produce one dance drama in a year. Odissi remains the main idiom. In the beginning Odissi Dance dramas were choreographed with attractive stage craft, with a popular theme & story. The characters were dressed accordingly. Nothing was left to the imagination of spectators they were literally taken to visualise the scene with proper stage craft costume, dress & appropriate songs. The theme was mostly mythological or historical, the favourite being the Radha Krishna Leela, & other stories – where lot of Dance could have been fitted. Then there was a tendency of presenting the intricacies of the style, management of space & time, experimentation of light effects etc. in rather abstract manner without much story line. Now any theme is presented in plain Odissi Costume, & the dancers frequently change their roles. Much is left to the imagination of the spectators. Lots of Group dances were created which could not be enrolled in dance drams. Recently there is also a trend to club different dance styles for different characters to present a dance drama. Maharasa by Kalvati Devi (Manipuri) & Aloka Kanungo (Odissi) is a bright example. Rediscovering the forgotten arts (Bandha Nritya, Prahalad Nataka, Pala, Rasa Leela etc.), incorporating them at proper situations & dance dramas in Sanskrit & other languages are presented in Odissi style. Some are heavily criticised, some are applauded & the trend is

16 followed. Another inclusion is power point projection at the back screen now added lustre to the production. The dance dramas were created for expressing the creativity in multi performing arts, to make the art to give a message to the society, or to cater to publicity. So more often it is tailor made for a particular occasion. Nothing is static so also the cultural scene. So there is natural process of evolution & metamorphosis. Lots of research, lots of experimentation, and lots of discussion & assessment of the productions ushers the way to nascent creativity. Only time will tell whether they will fade away with time or there to be history.

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