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globalworship · 4 years

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Indian Classical Dance Recital with 5 Bible stories

Ruth Prithika is an award-winning dancer who has trained in Bharatanatyam classical dance of southern India since she was 5 years old.

This is a 12-minute solo recital with a lot of content. The full piece is about an hour, these are excerpts.

First is the list of biblical content, then the video, then the credits, then more about Ruth, then some information about the dance form.

A typical bharatnatyam recital or a complete performance routine is called a Maargam. It contains up to 9 elements - see them listed and explained at https://kalyanikalamandir.com/bharatnatyam-maargam/

Ruth’s Maarga includes these 5 sections contextualized with Christian content. Some of this text is from her description on the Youtube page of the video. Text here in italics is from a review published at https://narthaki.com/info/rev18/rev2185.html

1. Pushpanjali - an offering to the Almighty. It is taken from the book of Genesis, the first chapter of the first book of the Holy Bible. The dancer offers her salutations (Pushpanjali) to each of the six days of creation [day and night, sky, earth/ocean/vegetation, sun/moon/stars, creatures, people]. Composition: Guru Vidyashree Radhakrishna; Raaga: malika; Tala:Adi;

2. Varnam - It begins with a short sloka , which describes Lord Jesus as the protector of the universe, a friend of the needy, a compassionate soul. The first half depicts the birth and the early life of Jesus, while the second half is based on His ministries and miracles. Composition: Guru Vidyashree Radhkrishna; Raaga: Simhendra Madhyama; Tala:Adi

Varnam, the centrepiece of the recital, followed the path of bhakti that described the saviour, Jesus. The pallavi says, "Show me your mercy, grant me the joy of happiness." An interpretation of the pallavi described the different crisis an ordinary human being undergoes, be it physical, metaphysical or spiritual. In times like these, Lord Jesus is our helping hand. The anupallavi described Jesus as the loving son, born to Mary and Joseph. The second half of the varnam says, "I am eagerly waiting to listen to your preaching, grant these keen ears of mine a chance to listen to your remarkable words." It goes on to describe his miracles and how his teachings inspire the devotees.

3. Padam - a unique abhinaya composition which is structured on the conversation of Jesus with a Samaritan woman (scrutinized as an untouchable). It is portrayed by the dancer stepping into the shoes of a Samaritan woman where she goes on to accept Jesus as her Guru. Composition: Guru Vidyashree Radhakrishna; Raaga:Malika; Tala: Adi

4. Keerthanam - The cross symbolizes love. It is considered to be a gift of Jesus to mankind as he takes away all our sins, through His sacrifice, thereby drawing us closer to the Creator. It is depicted in two episodes - one, the crucifixion of Jesus and the other, how the entire folklore receives the cross as a symbol of his sacrificial love. Composition: Mr.Samuel Saadhu; Raaga: Desh; Tala: Adi

A beautiful interpretation this came by innovating a new hasta [single-hand symbolic gesture] in Bharatanatyam to represent the cross,

5. Thillana - based on the resurrection of Christ as described in Luke 24. The recital, thus concludes with the message that Christ has risen and His spirit dwells among His people. Composition: Dr. E.V.S. Maben; Raaga:Sumanesha Ranjani; Tala:Adi (Khanda)

The words [for all the songs were] penned by her father, Dr. Suranjan Maben. The thillana was based on the resurrection of Christ as described in Luke 24. The dancer herself, peeps into the burial tomb of Jesus, and is overjoyed by the message of the angels who says that he is not here, but he dwells in our spirits. The dancer concluded the thillana on Easter day that Christ is risen and is dwelling in each one of us.

The 5 sections, composed by 3 different composers, are in 4 different raags and all use the Adi tala, a popular 8-beat cycle in Carnatic music.

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Credits:

Conceptualization: Dr. E.V.S. Maben Choreography: Guru Vidyashree Radhakrishna Music and Mridangam: Vid. G Gurumurthy, Bengaluru Natuvangam*: Guru Vidyashree Radhakrishna Vocal: Vid. Balasubramanya Sharma Flute: Vid. Jayaram Kikkeri Sitar: Vid. Sumarani Violin: Vid.Pradesh Achar Rhythm pad: Vid: Karthik Dathar Sound Recording: Prabhat Studios, Bengaluru

Presented by: Ruth Prithika Email Id: [email protected] Facebook: https://www.facebook.com/ruth.prithika

* Natuvangam is a pair of small cymbals on rigid cords. The one in the right hand is made of brass and the one in left is of steel. The intricate rhythms are connected to the footwork of the dancer.

Read more at https://www.thehindu.com/entertainment/music/in-conversation-with-nattuvanar-ksbalakrishnan/article24151554.ece

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In a FB post, Ruth wrote,

"Bharatanatyam is a dance form that symbolizes unity in diversity within the body. The dancer's body is like a spectrum of colors whose movements are painted across the canvas which is the stage, causing the spectator's gaze to wander all over the surface of the canvas. The unique expressions of the eyes, the hands, the legs and the feet synchronize with the music to create a perfect symphony."

See a terrific 1-minute video, made by Ruth (I think), that shows this at https://www.facebook.com/NatyaKalaConference/posts/156418545717482

This dance form has 55 root mudras (symbolic gestures), and some can be embellished. Read more at https://en.wikipedia.org/wiki/List_of_mudras_(dance)#Bharatanatyam

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Ruth Prithika, daughter of Dr Roshan Maben and Dr E V S Maben is currently pursuing computer science engineering at NMAMIT, Nitte. She has been learning this divine form of art since the age of five. She has successfully completed her vidwath exam in Bharatanatyam and junior grade in carnatic music. She has performed with Gaana Nrithya Academy at various stages in and around the country. She has also performed at Doordarshan Studio in Delhi for Prasar Bharathi during ABU dance festival held in 2016. She has won various awards in several classical and solo dance competitions held at district, state and national level. She has received training in Kathak and Odissi dance forms through the workshops organised by the academy.

Ruth also studied computer science at University College Dublin, her current location.

Ruth performed this piece for a large gathering of Christians for Easter 2018 in her town of Mangaluru. https://www.daijiworld.com/news/newsDisplay.aspx?newsID=502763

Mangalore, officially known as Mangaluru, is the second largest city and major port of the Indian state of Karnataka. See a map and more at https://en.wikipedia.org/wiki/Mangalore#Music_and_dance

The songs are sung in Kannada, a language spoken by about 57 million people in Karnataka and beyond. https://en.wikipedia.org/wiki/Kannada

A few photos from the news article above:

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From an article and interview with Ruth about the performance above in the Times of India:

According to Ruth, it was her father who conceptualized the idea and penned the lyrics. Her music teacher gave the lyrics a poetic form, got the music recorded from internationally-recognized artists in Bengaluru, and choreographed the performance.

Vidyashree, the choreographer, said the biggest challenge was that unlike depicting Shiva and Krishna, whose mudras (symbolic gestures] are mentioned in Bharatanatyam, she had to create mudras and costumes suiting Jesus. “We had to start from scratch. We were able to do it, and I am glad people appreciated it.” Read more at: http://timesofindia.indiatimes.com/articleshow/63571445.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

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See a 40-minute TV interview (in the Kannada language) with Ruth about the dance. Guru Vidyashree Radhakrishna, the choreographer, is also part of the interview.

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A publicity poster for the event, from http://www.mangaloretoday.com/main/Kristha-Patha-Christ-based-Bharathanatyam-repertoire-in-city-April-1.html

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A note about the choreographer:

Guru Vidyashree Radhakrishna established the institution in 1994, choreographed several solo, group and thematic ballets and performed all over India and abroad. Many of her students have won state, national and International level competitions and received scholarships and awards. She is a graded artiste of Doordarshan. Having expertise in both Bharatanatyam and carnatic vocal, she has not only conceptualized and presented several child friendly ballets, but also scripted and choreographed concept based traditional repertoires. As a director, she has organized several festivals such as Aarohana, Nrityadhara and Nrityaniranthara under the banner of Gaana Nritya Academy . http://www.mangaloretoday.com/main/Kristha-Patha-Christ-based-Bharathanatyam-repertoire-in-city-April-1.html

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A review of the dance recital is at https://narthaki.com/info/rev18/rev2185.html

Here are two photos:

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Some information on the mudras from https://en.wikipedia.org/wiki/List_of_mudras_(dance)

The Abhinaya Darpa (a descriptive primer for dancers) mentions that the dancer should sing the song by the throat, express the meaning of the song through hand gestures, show the state of feelings in the song by eyes, and express the rhythm with his or her feet.

From the Natya Shastra, a text on the arts, this beautiful quotation and translation is often quoted by Indian classical dance instructors:

"Yato hastastato drishtihi"..."Where the hand is, the eyes follow"" Yato drishtistato manaha"..."Where the eyes go, the mind follows"" Yato manastato bhavaha"..."Where the mind is, there is the feeling"" Yato bhavastato rasaha"..."Where there is feeling, there is mood/flavour, sweetness (i.e., appreciation of art; aesthetic bliss)"

So vast are the subtleties expressed in the hand gestures of hasta that the vastness of what being human entails, and perhaps even what the entire universe contains, might be expressed by the dancer.

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odishaphotos · 2 years

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Raghunath Panigrahi

Raghunath Panigrahi Odissi musician

Raghunath Panigrahi (1934-2013) is an Odissi vocalist of the modern era. He was born on August 10, 1934 in Gunapur, Rayagada district. He started teaching music at the age of five from freedom fighter Pandit Neelmani Panigrahi. From 1941 to 1948, he studied traditional Odissi music from Pandit Bishwanath Das and Pandit Narasimha Nand. He later learned Karnataka music from musician Madhu Pappa Rao. Finally, in Madras, Pandit D. V. He returned to Odisha after learning Hindustani music from Paluskar.

Artist life--

In 1948, Raghunath Panigrahi joined the Akashwani Cuttack Center as a regular artist. In many films, he has sung hymns, jananas and Odissi chandas, champu and ghazals. He also directed music for South Indian films. His role in promoting and disseminating Jagannath culture and Jayadeva's Gita Govinda is unique, especially with Odissi music. In the classical style, Gita Govinda learned from his father that he gained national and international fame by singing. He made a name for himself by singing Odissi, Hindustani and Karnataka simultaneously. He was a veteran musician in 12 languages. In addition to Odisha, Praveen Raghunath's fame in classical music has gained popularity in many states, including West Bengal, Andhra Pradesh and Tamil Nadu. Once upon a time, at the Rabindra Sadan in West Bengal, Sanyukta Panigrahi was performing Odissi dance while Raghunath's magical voice was floating from the stage. After hearing this, the audience and the audience all unanimously called for the singer to be brought on stage first. After Raghunath's arrival, the audience stopped dancing and insisted on listening to Odissi music and Raghunath sang. Her melodious singing introduced her to Suramani.

Stories--

In 1963, he made his feature film debut in Oriya fiction. He has acted in films such as 'Sri Sri Patitapavan' in 1963, 'Sindoor Bindu' in 1976, 'Mukti' in 1977 and 'Ahalya' in 1998. She directed the music for the 1965 film Actress. Best State Award for Best Supporting Actor in 1977 for "Mukti". He also won the State Award for Best Musical Composition in 1998 for the film Ahalya. In 1968, he was awarded the title of Surmani by the Sur Singar Sangsad (Kalco artist) of Mumbai. Since then he has been known as Surmani. Among the songs he sings are 'Aye Nilshail', 'Akashe Dishe Ki Sundar', 'As a Childhood Religion I Will Save Money', 'See the World in Madhumaye', 'Someone Falling in Chakanayan', 'Dekhbhai Mahamayi', 'Dhir Sami Yamuna Tire', 'Whatever Songs like "I Love You", "Lalit Lobang Lata Parishilan", "Maa Naam Madhur Aate", "Namo Niranjan Nikhil Nidan", "Na Ya Radhika Eka Eka", "Nach Nach Sajni Nachare", "Pachyati Ichcha Karehe Purna" are very popular.

Odissi dancer Sanyukta Panigrahi was his wife. Raghunath first met Odissi dancer Sanyukta at Kalakshetra Dance School. She married Sanyukta in 1960 at the age of 26. She has been involved in Sanyukta's dance for over two decades since 1970. Sanyukta was presenting a unique style of Odissi currency to the tune of Suramani's voice. Visiting various countries in Asia and Europe, the couple performed Odissi dance music, showcasing the greatness of Odisha culture. Along with Sanyukta, Raghunath has composed a number of songs from Odissi dance, including Pallavi, acting and dance drama, which are still being performed. Raghunath was the creator of the music of Odissi dance, which is performed by the half-goddess Bhavya of the Odissi dance around the world. He has also composed music for many Odissi dances, such as acting and rain.

After Sanyukta's demise in 1997, Raghunath formed a trust for the promotion and dissemination of Odissi, the so-called Sanyukta Panigrahi Memorial Trust. The trust has been providing incentive scholarships to young Odissi dancers since 2001. In addition, she is associated with Pratima Devi's dance institute 'Nrityagram' and has done a lot to promote Odissi dance. He died on August 25, 2013.

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ramayantika · 1 year

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Wtf was today's class? Odissi footwork looks easy but my confused brain finds it to be some puzzle. The way I got steps correct for one second only to do it wrong the other time.

Battu was easy to pick up than pallavi 😤

Also I realized that I can perform 2 odissi items that are almost 8-9 minutes long with only a minute break in between that too because the intro music is long and not because my sir gives me a break

And then I get tired while doing 5 minutes of alarippu and desiring nothing but a cold shower

I probably need to push myself more for bharatanatyam

#samridhi speaks #danceblr #this probably proves that i actually have good stamina but maybe i am lazy

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bahamabhava · 2 years

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Odissi dance. Hamsadhwani pallavi choreographed by Guru Kelucharan Mohapatra, danced by me.

#odissi #india #dance #me #bahamas #maledancer #hamsadhwani

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ramayayi · 7 months

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Date: 7/9/23

Had odissi class in the morning and did I finally complete learning Desh pallavi? YES

Desh pallavi is based on Desh raga and pallavi is a pure nritta item which means there is no abhinaya i.e acting/drama involved. It looks pleasing to the eyes and for dancers it appears easy to perform but pallavi itself has its own challenge to follow the sargam as well as the bol according to which the steps go.

In the evening had my dance exam whose results I will get to have next year or maybe this year if I get the chance to visit my dance teacher's eyes because she has the marksheets of three dance exams.

Looking forward to executing pallavi in tomorrow's class without forgetting the step in the middle

#dance #ramaya nritya #dance diaries #danceblr #odissi #bharatanatyam #dancers

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buzz-london · 6 years

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Pallavi... Odissi by Sujata Mohapatra and Choreographed by Guru Kelucharan Mohapatra

Pallavi means elaboration. Here, it is applicable not only to the dance but also to the music, which accompanies it. The movements are very graceful and lyrical. It is distinct in its exceedingly intricate and interwoven rhythmic patterns of singular beauty, laying emphasis on pure dance.

https://youtu.be/tp46Kvze4cY

#odissi #dance #dancer

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maxlane · 3 years

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PALLAVI THROUGH ABSTRACTIONS

Fueled by a burning curiosity, Chowk Productions’ Pallavi Series (2016–2018) explored the possibilities of deconstructing classical dance to develop a contemporary language of movement, beginning with the basic stances of Odissi — the ‘chowk’ and ‘tribangh’ positions (Pallavi and Space; Pallavi in Time) and later accentuating the dimensions of the dancer’s torso and their gaze (Pallavi with Stillness). Pallavi Through Abstraction is the culmination of the Pallavi Series that seeks further abstraction towards its own unique idiom of dance, shedding new light on Raka Maitra’s original choreography. A mesmerising synthesis of softness and strength, Pallavi through Abstraction celebrates pure dance and form, seamlessly woven with live music by NADA (Safuan Johari and Rizman Putra).

Staged on 26-27 February 2021 at Drama Centre Black Box.

Choreographer: Raka Maitra Dancers: Raka Maitra, Sandhya Suresh, Caroline Chin, Anushka Ghosh Musicians: NADA (Safuan Johari and Rizman Putra) Lighting Designer: Daryl Norman Soh

Photos by: Bernie Ng

#nada #hantulogy

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akinoguchi · 4 years

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🌸Spring Equinox🌸  It’s a windy but beautiful day in Japan.  My mind is quiet and Shanti now. I am concentrated with my works. Dance and Drum. My life doesn’t have much information from outside. - 10 days ago, I was finished one month of Odissi, Yoga and Mardala training at Shakti School of Dance. We tried to refine ‘Saveri Pallavi’ and ‘Batu’ with Colleena Shakti and Sudhan Su. Thank you for your patience with details when I couldn’t control my body even I know my mistakes.  At last I found my habits a little and now I’m not ashamed watching my dancing. It was long way.  And both of choreographies are still hard for me but also bring me beautiful and joyful feeling once music starts. It’s like magic ! - My heart is here but there. My body is also same. I remenber these moments every time when I dance, chant and drum…..! I’m not alone even outside of the precious bubble. So happy with this feeling as a part of the lineage. - Next session started there. I’m supporting the sisters still working hard ! - Jai Jaganaath !! - - 日本にも春がやってきています。 息子の引越し手伝いや手続きで奈良に帰り、コロナ騒ぎでキャンセルになった温泉を友人がプレゼントしてくれて、インドでの疲れも吹き飛ぶ食事にお風呂で天国を味わってました。 動作術の講座もこじんまりと開催できて、少しづつ近くの友達にも会えて。 心は穏やかで、またヨガと踊りと太鼓ができる日々が戻ってきて嬉しい。 - 10日前、Odissiのトレーニング１ヶ月が終わりました。今回も２作品を復習復習で、やっとそれらのスタートラインに立てたような感じです。頭でわかっていても何度も同じ箇所を間違えたり、体をコントロールするのがこんなに難しいのかぁと思います。粘り強く見守ってくれる2人の先生に感謝しかありません。やっと、自分の癖が少し分かって、客観的にみるのが恥づかしくなくなってきました。長い道のりです。 どちらの作品もまだまだ難しいのですが、一度音楽が鳴り始めると、なぜか笑顔がこぼれてしまう、心に熱いものが湧き上がってくる。。。それは、いつも魔法のよう！ - 今、不思議な時間の中で、心はインドのような、日本のような。間の中。カラダも。 踊り、歌い、叩き始めると、練習していた時の気持ちに戻って向こうにいるような感覚にもなります。あの貴重な美しい祈りの時空間の外に出ても、カラダが記憶を思い出してくれる。ひとりじゃないな、繋がっているな〜と心から思えるのは幸せです。 - また次のセッションがスタートしているはず。みんな頑張ってください！ Jai Jaganaath !! - - #shaktischoolofdance #odissi #yoga #mardala #colleenashakti #movedeeper #art #sadhana #love https://www.instagram.com/p/B99j_N3lOFu/?igshid=d4rajik8j9c

#shaktischoolofdance #odissi #yoga #mardala #colleenashakti #movedeeper #art #sadhana #love

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