Mar 7, 2010 ... Mangalacharan: Rudrashtakam. The Mangalacharan is the traditional invocatory
item of Odissi. It begins with bhoomi pranam. This is followed ...
Vandana: Bhagavati Storam
Repertoire The ancient temples of Konark, Puri Jagannath, Khajuraho, Lingaraj and hundreds of others bear the most beautiful depiction of postures and gestures of Odissi dance. Under its aesthetic veneer lies its essence of spirituality and the quest for realization of the Divine. In “Shivārādhanā”, the artist will explore and worship the facets of Shiva and His consort, Shivā through traditional and new choreographies. Mangalacharan: Rudrashtakam The Mangalacharan is the traditional invocatory item of Odissi. It begins with bhoomi pranam. This is followed by Isthadeva Vandana for an auspisious beginning. It concludes with a trikhandi pranam in which the dancer offers salutation to God, the Guru and to the audience. This Mangalacharan is based on Rudrashtakam, a composition of Sage Tulsidas. The verses mean: I worship You, the one Who is the Lord of all, Who is in eternal Nirvana-bliss, formless, change-less, passionless, desire-less, all pervading sky of consciousness and wearing the sky itself as His garment. I sing Your praise, You, Who has swaying earrings, Beautiful eyebrows and large eyes, Who wears a lion-skin around His waist, Who wears a garland of skulls, Who is Full of Mercy with a cheerful countenance, whose throat is blue for holding poison Choreography: Padma Vibhushana Guru Kelucharan Mahapatra (re-interpreted by Shreelina) Music: Sri Sukhomoy Bhattacharya Raga: Bairagi & Parameshwari | Tala: malika
Bhagavati Storam is an invocation to the nine forms of Goddess Durga. The verses are composed by Sage Vyasa. The verses mean: Oh Mother you are kind and blissful to your devotee. You have killed the demons Shumbha and Nishumbha. While you take the karala roopa and destroy demon Mahishasur, you are kind, benign and save the world from distress. Bless me and grant me my prayer to attain Siddhi(enlightenment). Choreography: Padmashree Guru Pankaj Charan Das Music: Sangeet Sudhakar Bala Krushna Dash Raga: Saveri | Tala: Jati taal Pallavi: Shankarabharan Pallavi literally means “blossoming”. This is applicable not only to the dance, but also to the music, which accompanies it. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed). This “Pallavi” will be performed in Raga Shankarabharan. Sankarabharanam literally means - the ornament of Lord Siva - hence it is associated with Siva, and the seven swaras featured points to seven ornaments of Lord Siva as follows: Sa (Sarpa), Ri (Rudraksha), Ga (Ganga), Ma (Mrga), Pa (Pushpa), Dha (Damaru), Ni (Nisakara or moon). This majestic raga is considered the king of all ragas in Carnatic Music and is capable of evoking both Shringara and Veera rasas. Choreography: Padma Vibhushana Guru Kelucharan Mahapatra Music: Pandit Bhubaneswar Mishra Raga:Shankarabharanam|Tala: Ek tali
Abhinaya: Ardhanareeshwar Ardhanareeshwara represents the inseparable duality in the universe: Creation and Destruction, Matter and Consciousness, Purusha and Prakriti. The divine Union of Shiva and his consort Shakti, represents the synthesis of masculine and feminine energies. The next item is a homage to Ardhanareeshwara. Composed by Adi ShankarAchArya the verses mean: My salutations to both Parvathi and Shiva. Her Body shines like gold, His body shines like the burning camphor. Her hair is well-made up, He has the matted locks. She wears tinkling pretty anklets, He wears snakes as anklet. Her dance of Lasya marks the creation of the world, His dance of Tandava destroys everything. She is the mother and He is the father of the universe. She is divinely merged with Shiva, He is divinely merged with Parvathi. Choreography : Padma Vibhushana Guru Kelucharan Mahapatra Music: Sri Raghinath Panigrahi Raga: malika |Tala: malika Moksha: Nirvana Stuti Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. The verses for Moksha are from Bhavani Asthakam and Atma Shatakam, both by Adi Shankaracharya. Choreography: Padma Vibhushan Guru Kelucharan Mahapatra (re-interpreted by Shreelina) Music: Sri Sukhomoy Bhattacharya Raga: Gurjari Todi | Tala: Ek Tali
About Shreelina Shreelina has performed solo and with her Guru Smt. Aloka Kanungo at most major cultural festivals in India. Some of her major performances are at Khajuraho Dance Festival, Uday Shankar Dance Festival, Jayadeva Jayanti Utsav, Surya Festival, Swaralaya Nrityotsav, Shankar Dev Festival, India Habitat Center and Puri Beach Festival. She has performed a number of times on the national and state television. Shreelina is currently pursuing her doctoral degree in Digital/ Cultural/Performative Rhetoric at Michigan State University and continuing her performance and teaching of Odissi. Her major performances in USA are: Human Relations Commission Event (City of Livonia), Feminisms & Rhetorics International Conference, Incredible India: An Emerging Global Giant event, Mayor of Lansing's "Lansing Diversity Festival" and several programs organized by Indian associations of Austin and Lansing and International Offices of Michigan State University. She has been invited to perform by the Ann Arbor Community for Traditional Music and Dance, Lansing Arts Council and Chicago Fringe Artists Network. Shreelina’s production “Panamami Buddham” brought her to the attention of both critics and media as an experimental choreographer. Performed at Bodh Gaya, the project was sponsored by the Mahabodhi Society of India. She received several state-level competitive awards including “Star of Tomorrow Award” from West Bengal Dance Group Federation. In USA, she received honorable mention at the "Artistic Expression Award” at Michigan State University.
Program Order • • • • •
Shinjan Nrityalaya presents
Mangalacharan: Rudrashtakam Vandana: Bhagavati Storam Pallavi: Shankarabharan Abhinaya: Ardhanareeshwar Moksha: Nirvana Stuti
Acknowledgements • • • • • • • •
Project mentor: Guru Aloka Kanungo Light/ Stage direction: Sri Manish Mitra Pakhawaj: Guru Giridhari Nayak Sitar and Music composition: Sri Sukhamay Bhattacharya Vocalist: Sri Biswajit Ghosh Flute: Sri Chinmoy Karmakar Compere: Shreenita Ghosh Photography: Sri Pramod Thupaki
Shreelina Ghosh 2724 Trappers Cove Trail Apt 2A, Lansing, MI 48910 | Ph. (517) 881-5748 website: http://msu.edu/~ghoshsh2/odissi email:
[email protected]
Shreelina Ghosh March 7, 2010 Gyan Manch, Kolkata
