A Solo Odissi Production by Dancer & Writer Madhur Gupta
is all set to thrill the city on Thursday 2nd February 2016 at Indian International
Centre, New Delhi. The programme will kick off at 6:30 pm sharp and will
continue till two hours. One can witness the delightful traditional dance
choreographies from 1961-2016 on the auspicious evening. There is a free entry
to all art loving audience. Padma Bhushan Raja and Radha Reddy will be the
chief guest of the great evening.
Tantu is a unique dance show presenting the premier of
choreographies by Gurus Sharon Lowen, Madhavi Mudgal and the performer of the
evening, Madhur Gupta, framed by classics by the major architect of Odissi,
Padmavibhusan Kelucharan Mohapatra. ~Tantu, literally translating to meaning a
‘Thread’, is truly about connecting tradition in a single string!
Dancer & Writer Madhur Gupta, with great enthusiasm and
eagerness is looking forward to the D-Day, he said, “Tantu is coming together
of 3 generations of artistic sensibilities. It is a unique concept presenting
the premier of choreographies by Guru Sharon Lowen, Guru Madhavi Mudgal &
myself, framed by classics by the major architect of Odissi, Padmavibhusan
Kelucharan Mohapatra. Tantu, also has the distinction that two of Guru
Kelucharan Mohapatra’s prime disciples (Madhavi Mudgal & Sharon Lowen) have
created new work especially for their disciple (Madhur).”
“Approaches towards Odissi might differ with generations,
but the traditional parameters are deeply rooted in us. Thus, this production
shall explore the challenges of not only showcasing the traditional in a
contemporary vision but also carrying forward the baton of Odissi by the new
generation.” Madhur added.
Manikya Veena (Mangalacharan), Choreography (1965) - Guru
Kelucharan Mohapatra
The dancer enters the stage and offers a traditional
invocation to Mother Earth for her support followed by a song in praise of the
Goddess of Learning and Music, Saraswati in her form as Matanga. Holding a
bejeweled Veena, four armed, the moon in her hair, lotus eyed, bearing weapons,
with the graceful gait of the elephant. This song is followed by the threefold
salutation to God, the Teacher and the distinguished audience.
Rajanigandha (Pallavi) Choreography (2016) - Madhur Gupta
Pallavi is a lyrical elaboration of rhythmic, melodic and
movement themes. It is considered the
most graceful and lyrical form of "pure" or abstract dance in the
Odissi repertoire. Like the tender
shoots of a tree sprouting and branching, the movement theme is elaborated with
rhythmic and melodic variations. Rajanigandha literally means one that is
'fragrant at night'. Akin to the sweet smelling flower which blossoms at night
and spreads its intoxicating smell slowly, this Pallavi set in a night time
raga Odiya Kedar opens up with gradual movements, developing and steadily
overpowering the senses with intricate patterns created in music and space.
Jhagadi Matra Hela He Shyam (Oriya Abhinaya) Choreography
(2016) - Guru Sharon Lowen
This choreography belonging to the genre which is created
from a typical and unusual form of words, which is partly prosaic and partly
poetic is known as Champu. In the Odia Champu composition, a song is written
for every letter of the alphabet, and every stanza in the song starts with the
same letter of the alphabet. This particular piece starts its every line with
the letter ‘Jha’, hence also is known as ‘Jha Champu’. In this Lalitha, Radha’s
sahki, catches Krishna taking a glimpse of Radha and getting devastated with
the thoughts of not being able to be with his beloved.
Kumara Sambhavam (Sanskrit Abhinaya) Choreography (1992) -
Guru Sharon Lowen
The wedding night and morning of Lord Shiva, God of
Dissolution and his consort, Parvati, is described in the 2000 year old epic by the great
Sanskrit poet/dramatist Kalidas. Shiva reclines as Parvati glances at him with
curiosity and mischief. He slowly opens
his eyes as she is dazzled as though by lightning. Covering Shiva's eyes with
her hands in shyness, Parvati sees his third eye open and is bewildered by the
futility of effort to hide her shyness. Next morning, in Parvati's concern that
her friends will arrive and tease her about the telltale signs of love, she
checks herself in her mirror. Shiva is reflected and she cannot answer his
questions in shyness.
Yahi Madhava (Ashtapadi) Choreography (1961) - Guru
Kelucharan Mohapatra
In this Ashtapadi, Radha is waiting for her beloved, Lord
Krishna. Having waited all night, she reproaches him when he arrives at dawn
after a night's dalliance, pleading forgiveness. Your drowsy red eyes from
being awake all night betray the intensity of passion you cherish for that
other woman. Go Madhava! Go Keshava! Do not deceive me with your artful words.
Go after her, O lotus-eyed one, she who soothes your grief. Your crimson lips
are now dark like your body from kissing her made-up eyes. Like a proclamation
of passion's triumph in gold letters on emerald is your dark body scratched in
love's battle. Your heart must be as defiled as your body.
Shantam (Mokshya) Choreography (2016) – Guru Madhavi Mudgal
This dance leads the performer as well as the beholder
towards Moksha, spiritual and intellectual release from the cycle of rebirth
and union with the supreme. The traditional culmination of an Odissi
performance, this vibrant dance concludes with a shanti mantra Prthivii
Shaantir-Aapah Shaantir-Ossadhayah Shaantih |Vanaspatayah
Shaantir-Vishve-Devaah Shaantir-Brahma Shaantih Sarvam Shaantih Shaantireva
Shaantih Saa Maa Shaantir-Edhi |Om Shaantih Shaantih Shaantih ||
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