55th Dubrovnik Summer Festival 2004 Croatia

ORISSA DANCE ACADEMY, India Indian Classical Odissi Troupe

Guru Gangadhar Pradhan choreographer

Revelin Fort Terrace 27, 28 July 9.30 pm

Dancers:

Manoranjan Pradhan Ramesh Chandra Jena Madhusmita Mohanty Y. Asha Kumari Sanjukta Das Srudutta Bhol Leema Bhol

Musicians:

Guru Gangadhar Pradhan, Guru and mardal player Shri Bijaya Kumar jena, vocalist Shri Ramesh Chandra Das, t violin player Shri Jyotindra Prasad Mishra, sitar player

Orissa is a federal state in India spreading by the Indian Ocean, between the coastline of the Bengal bay and the Chota Nagpur plateau. Its literature was first written in Sanskrit language, followed by the Buddhist literature in Prakrit language, until the development of the newIndic language Oriya similar to Bengali and Assamese languages. The Oriya literature historians believe the Buddhist Caryā songs, preserved in a Nepalese manuscript from the 12th century, to be the oldest writings of the Bengali literature. Other early Oriya writings in scripts and chronicles in temples and in separate poetic texts with strong influences of the verbal folk literature appeared approximately at the same time, or in the centuries that followed. In the Indian dance and theatre, the body language and face expression is accompanied by a very complex symbolism of the hands and fingers movements. In order to understand the story in a play, it is necessary understand the language of the movement. Each

movement (mudrā) has a special name (such as: the banner, three banners, crescent moon, the parrot's bill) and meaning that can be only one and very precise. However, it is often, particularly in basic movements, defined only in the context. There are about forty main movements either of one or both arms, and their repertoire gradually changed and expanded. The mudrā has remained of major importance both in the religious ceremony and in everyday life in the present time India, whereas the basic principle of this movement language also spread into the classical dances of other nations in the South and South-East Asia. Among its other features, the stage art of the Indian cultural circuit is probably most distinguished for its specific movement language.

The Orissa Dance Academy, one of the leading cultural institutions in Orissa is run by Guru Gangadhar Pradhan. Established in 1975, it played major role in spreading and promoting the dance and music art forms of Orissa. It trained a large number of artists who become popular both in India and abroad. Closely collaborating with various cultural institutions in India, Canada, Holland and the USA and continuing the rich cultural tradition, it builds up international cultural relationships and friendship. Supported and encouraged by numerous governmental and private organisations and institutions, the Academy is situated in the magnificent building of the Konark Natya Mandap. In addition to cultural research and presentations, it organises renowned festivals, seminars and gatherings, promoting the folk art, particularly the one from Orissa. What makes the Orissa Dance Academy different from other institutions of the kind is it organisation conducted in accordance with the traditional model of Guru Kula Ashram.

Guru Gangadhar Pradhan (1948) was born in Parikul, India. At the age of six he was initiated in the art of Indian traditional dance and studied with many renowned dance masters, receiving the scholarship from the Indian Government. Having become a prestigious dance pedagogue himself, he educated generations of dancers who brought him popularity both in the country and abroad. He become head of the prestigious Orissa Dance Academy that cherishes traditional dance, vocal and instrumental forms such as Odissi, Gotipua, Chhow and Pala in its numerous departments in India as well as in Canada, Holland and the USA. He made many acclaimed choreographies of numerous dance dramas, Odissi ballets and Rasa dance. He presented his artistry to the audiences in France, Italy, Germany, Great Britain, Denmark, Russia, Israel, the USA, Canada, South America, etc. Collaborating with many prestigious academies both in the country and abroad, Guru Gangadhar Pradhan made many film, theatre and television productions in Canada Japan and the USA. He gave a huge contribution in promoting Indian tourism, organised many festivals of Indian dance and music, as well as a huge number of seminars and symposiums on the themes of theatre arts and traditional folklore. The recipient of numerous awards and honours in India, Denmark, Canada and the USA (including the State Sangeet Natak Academy Award, the Sanjukta Panigrahi National Award, the Sanskruti Bharatee Award at the John F. Kennedy Centre of Performing Arts, Washington, etc.), Guru Gangadhar Pradhan is the first lecturer of he Orissian art and culture at the prestigious American University in Cornell.

SYNOPSIS OF DANCE ITEMS:

MANGALACHARAN

Shiva Panchak In a prayer to Lord Shiva, his devotee says: «Oh! Lord Shiva, you are wearing beautiful earrings and a bright necklace, your hair locks look gorgeous in the light of the crescent moon. Your eyes are very bright and your speech is as cool as the soothing moonlight. Oh! Lord Shiva, the spouse of Parvati, holding the trident in your hands, please, relieve me from this worldly bonding.» Again the devotee says: «Oh! Lord Shiva, your eyes are like a burning fire, you are adorned with serpents as your ornaments and painted with the ash from the burning ground. You, who are wearing the elephant skin as your garment, have the power to burn the Sun. You, who have five faces and who burnt Kama (Cupid), are a great Yogi. Oh! Lord Shiva, please, relieve me from this ocean of worldly bonding». According to Hindu religious belief, reincarnation (reappearing of the soul after death in another bodily form) is repetition of the problems, sickness and misfortunes through many lives. Living a life in prayer and without sin, they believe that God will release them from the eternal cycle of being born and dying and give them eternal life in the spiritual world. Choreography: Guru Gangadhar Pradhan Music: Sangeet Sudhakar Balakrushna Dash

Naba Durga In this dance the dancer pays obeisance to Goddess Devi Durga and describes her nine forms. The song is composed by Maharishi Vyasa. In high praise of Bhagabati Durga, he says: « Oh! Mother, you are merciful to your devotee. You killed Shumbha & Nishumbha. Your eyes are like the Sun and the Moon and your lips sparkle like fire. You, who killed the demon Mahisha with your lance, please, give me the strength and let me attain siddhi!» Choreography: Padmashree Guru Pankaj Charan Das Music: Sangeet Sudhkar Balakrushna Dash

Shantakaram An Odissi performance usually begins with the Mangalacharan. The dancers enter the stage with flowers offering praise to Lord Jagannath, Lord of the Universe, praying for his blessing. They also perform Bhumipranam saluting the Mother Earth, which is followed by a sloka to a particular deity. This sloka, in which they offer praise to Lord Vishnu, is written by Sanskrit poet Sankaracharya. The destroyer of evil powers, Vishnu gives peace and prosperity to the mankind. Choreography: Padmashree Pankaj Charan Das Music: Sangeet Sudhakar Balakrushna Dash

PALLAVI

a) Raga-Sankaravaran; b) Raga-Rageshree; c) Raga-Kirvanee Pallavi means to elaborate. This is another example of pure dance with gracious and lyrical movements. It is danced to a melody (raga) that is soft, lifting and melodious. Raga is a scale model characteristic not only of scale degrees, the beginning and closing tones, cadenzas, etc., but also of the emotional feed back from the audience. Ragas express various emotions: anger, sadness, loneliness, joy, expectation; raga can conjure up all shades of the feelings, the light and the shadow of the inner life. Ragas furthermore belong to certain season, or hour in a day and praise many deities of the Hindu mythology. There are both male and female ragas.

ABHINAYA Abhinaya literally means to act. This dance therefore has elements of expressionism. Abhinayas faithfully interpret the text of the songs by hand gestures (madras) and facial expressions depicting emotions. Majority of the songs are written in Sanskrit and Oriya by the famous medieval poets.

Dasavatara This abhinaya is a passage from Jayadev's epic Gita Govinda. This is a popular Odissi dance depicting the ten various incarnations of Vishnu: Matsya (fish), Kurma (tortoise), Baraha (boar), Narasimha (half-lion and half-man), Baman (dwarf), Parshuram (furious sage), Rama, Balaram, Buddha and Kalki who will establish truth and justice on the Earth vitiated by the demonic forces Adharma (injustice) and Asatya (falsehood). Choreography: Padmashree guru Pankaj Charan Das

Manini This beautiful contemporary abhinaya is based on extracts from the traditional Oriya poems written by the renowned poets of the old times Gopalakrushna and Bhaktakabi Banamali Das. In this romantic duet, Radha the eternal beloved of Krishna, is in a mood of romantic nostalgia while lovingly decorating the Kunja (garden in which she meets with Krishna). In her mind she sees her beloved Krishna wearing yellow garments and a crown with sparkling jewels on his head. Her heart is filled with love while thinking that no one can match her lover's beauty and elegance. Yet the night is almost gone and her high spirits and hopes turn into despair. In spite of his promise, Krishna does not arrive. Filled with jealousy and hurt pride, she feels that everything she has prepared with so much hope and longing is useless without him. In the crucial moment Krishna arrives. Seeing his beloved in such desperation and anger, he is overwhelmed with guilt and remorse and tries to find ways to soften Radha's anger. The wise Krishna first admits his guilt with sweet words and then soothes Radha's hurt ego, praising her beauty and demeanour he is obsessed with and which have captured his heart. He begs his beloved to reject her pride because he cannot live without her. Unable to resist the soothing words of Krishna, Radha finally relents and they unite.

Choreography: Guru Gangadhar Pradhan

Music: Guru Ramahari Das and Sri Parfulla Kar

Glani Sanhar This choreography masterpiece is based on an Oriya poem describing the ten incarnations of Lord Vishnu. When Sankhasura stole the Vedas from Lord Brahma, Vishnu assumed the form of a fish. While the Devatas and Ashuras were churning the ocean of milk in order to obtain the nectar of immortality, Vishnu assumed the form of a giant tortoise to prevent sinking of the churning stone. When Ashuras stole Prithivi, Vishnu assumed the form of a wild boar and saved her. He appeared as Narasimha when the king Hiranyakashipu tortured his son Prahllad for worshiping him. When king Bali, famous for his generosity, become too arrogant, Vishnu appeared as a dwarf and smashed his pride. When Ravana created havoc and even dared to steal Sita, Vishnu killed him in Rama Avatar. During a period of crisis, he became Haladhara in order to till the soil. As Goutam he was shocked by sickness and death, so he chose a life of a saint and become Lord Buddha who preached peace and non-violence to the world. He will eventually assume the form of Kalki in order to destroy the evil in the world. Music: Sangeet Sudhakar Balakrushna Dash Choreography: Padmashree Pankaj Charan Dash

Ahey Nila Saila This is an Oriya poem written by a Muslim poet. «Oh! Lord Jagannath, you are like a blue mountain, you are like a wild elephant. Please take away my sorrow, like an elephant that crushes a lotus and throws it away. Once an elephant was caught by a crocodile in the water. You listened to his prayer and released the elephant by killing the crocodile with your chakra. In a game of dice, king Yudhistir lost his kingdom, brothers and wife. His wife Droupadi was dragged to the court and Dusasana wanted to humiliate her in public by taking off her clothes. Yet, when he started to pull down her sari, you extended it over and over and thus protected Droupadi's dignity. Hiranyakashipu mocked his son who believed that you were everywhere, even in a pillar. You appeared in a form of half-man and half-lion and tore Hiranyakashipu into pieces thus saving the world from his tyranny.» At the end the poet offers his humble prayer at the lotus feet of Lord Jagannath.

Chandan Charchita This abhinaya is an excerpt from the great Jayadev's epic Gita Govinda from the 12th century, which is considered to be the beginning of the Bengali literature, although written in Sanskrit. Yet this religious and love poetry was written on Bengali territory and folk tradition on the themes of the love of Radha and Krishna and their magical pass-times. The Gita Govinda consists of twelve cantos; some poems include the words of Krishna, Radha or her friends, which gives a dramatic note to this epic, although it is not a dramatic form. It describes various phases of love that end happily. A major piece of literature in Orissa, Gita Govinda was translated to Oriya language in the 15th century and Jayadev (belonging to Orissa by his birth, but not by the language in which he wrote) is considered a local poet. One of the gopis (Krishna's most ardent devotees) talks to another:

«Oh, My friend! Watch how Krishna is mesmerising the gopis. All the young ladies are trying to attract his attention. His body has the colour of a monsoon cloud, ointed with the sandal paste and dressed in a yellow silk robe. His ear rings are swaying lightly and his gentle smile lights up the whole area.» Dancing to the magical tune of his flute, the girls produce the slinking sounds by their bangles thus creating a mystical melody. The gopis completely surrender to Krishna's magical embrace.

MOKSHA According to the Hindu philosophy, all human activities are directed towards salvation. Moksha literally means «salvation of the soul». The dance of ecstasy that sets the dancer free to achieve his goal is known as Moksha Nata. This fast, rhythmic dance concludes the programme. D. Detoni