Shreelina Ghosh - Michigan State University

Shreelina Ghosh Shreelina Ghosh is a young exponent of the Odissi style of Indian classical dance. Initiated into this ancient artistic tradition by Guru Giridhari Nayak, she has been a disciple of eminent Odissi-guru Aloka Kanungo for over twenty-five years. She is currently pursuing doctoral studies at Michigan State University.

Recognitions: “2002 Star of Tomorrow Award” from West Bengal Dance Group Federation was awarded to her recognizing her as one of the most promising classical artists of her generation. She also received several competitive awards from West Bengal State Music Academy and West Bengal Music Circle. She received honorable mention at the Excellence in Diversity Awards and Recognition program organized by the Office for Inclusion and Intercultural Initiatives for "Making a Difference through Artistic Expression."

Performances: Major performances in India:                  

Shivaradhana, Gyan Mancha, Kolkata (2010) Khajuraho Dance Festival, Khajuraho (2006) Padatik Dance Centre, Kolkata (2006) Uday Shankar Dance Festival, Calcutta (2005) Panamami Buddham at Mahabodhi Society of India, Bodh Gaya (2005) Kolkata Dooradarshan Utsav (2004) Jayadeva Jayanti Utsav, Bhubaneswar (2004) Haldia Music Circle, Haldia (2004) Utkal Divas Utsav, Sambhalpur (2003) Nrityanjali: Shinjan Nrityalaya, Kolkata (2003) Utkal Divas: Utkal Shiksha Sansad, Kolkata (2003) Soorya Festival, Trivandrum, Kerala (2003) Thalam, Thrissur, Kerala (2003) Swaralaya Nrityotsav, Palghat, Kerala (2003) All India Women's Congress (2002) Shankar Dev Festival, Guwahati (2002) India Habitat Center, Impressario India, New Delhi (2002) Puri Beach Festival (2001)

Major performances in USA:      

Lincoln Center of the Performing Arts, New York (upcoming, July 2011) Ragamala event at Seattle (October, 2010) United Nations Association Event (October 2010) Lansing Shalom Center’s International Peace Day Event (2010) Performance at Ann Arbor District Library (2010) Classical Dance Festival (Sri Venkateswara Swami Temple of Greater Chicago, 2010)

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Bichitra event (Detroit, 2010) World Dance Day event by Kalakshetra: The Temple of Arts (Michigan, 2010) Human Relations Commission Event (City of Livonia, MI, 2009) Feminisms & Rhetorics International Conference (Coalition of Women Scholars in the History of Rhetoric & Composition, 2009) Community Showcase Event (South Lansing Community Development Association, 2009) India Week event at Lansing's Historic Turner-Dodge House (Asian Studies Center and India Council, 2009) Incredible India: An Emerging Global Giant (MSU Alumni Association, 2008 and 2009) India Week (with Aloka Kanungo, MSU Asian Studies Center and India Council, 2007) Mayor of Lansing's "Lansing Diversity Festival" (2006) Several programs organized by Indian Students Organization, Bengali Association of Austin (Texas) and Indian Association of Lansing.

Television performances and interviews:  

Doordarshan (Indian National TV Channel) State channels: ETV Bangla, SUN TV (Kerala), Tara TV, ATN Bangla, R-Plus

Excerpts from Press Reviews: ... strong foundation and solid tutelage are clearly evident in Shreelina's dance. (Sananda, 2011) Shreelina Ghosh explored newer interpretations and renditions of the rhythm within the traditional boundaries of this art... won the hearts of the audience with her abhinaya. (Ganashakti, 2010) Shreelina impressed the audience in Shivaradhana. (Oriya Samaj, 2010) Shreelina's dance-talent illustrates her extraordinary proficiency in abhinaya (expressions) ... she succeeded in portraying the contrasting facets of Kali, the Mother Goddess ... Her use of mudras (hand gestures) in Shankarabharan Pallavi stood out... her dance exuded bhakti (reverence). (Saptakik Bartaman, 2010) ... Shreelina rendition of the dance demonstrates intelligence and skillful abhinaya.(Bartaman, 2010) The International Students Association’s fifth annual Cupid’s Crush dance was not centered around salsa and swing routines as in previous years, said Shreelina Ghosh, ISA director of events. This is the first year it has been opened up to different types of international dances or cultural performances... (Shreelina) Ghosh said her idea to expand the event came from her 24 years as a performer. “True dance creates conversation amongst international and national students,” she said. (State News - Michigan, 2008) ... an innovative interpretation in Odissi performance (about Panamami Buddham) (Bodh Gaya, 2005)

Shreelina Ghosh | Website: http://msu.edu/~ghoshsh2 | Email: [email protected] | Ph.: 1-517-881-5748

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Dance unites peace and poise... Odissi moves beyond Hindu texts to embrace the message in Tagore's Pujarini and Pali shlokas. (Hindustan Times, 2005) Odissi in Buddhist robes... In an effort to perfect the experimental, city-based dancer Shreelina Ghosh's latest take is on an innovative dance choreography ... a solo Odissi recital as obeisance to Lord Buddha... art alone can blend two divergent traditional forms ... shows promises to be never-seen-before event. (The Asian Age, 2005) Young dancer impresses... Shreelina displayed a growing sense of aesthetics in her solo recital, she has imbibed the authentic style of the Odissi fruitful guru-shishya parampara (is) evident in the youngster's intelligent assimilation of the dance form.(The Statesman, 2003) Shreelina is a new Odissi performer but has a lot of potentials. (Bartaman, 2003) She has an attractive stage-presence and can convey the spirit of the dance well.(The Telegraph, 2003) It is always a pleasure to watch a student of dance who has learnt her lessons well.(Hindustan Times, 2003) ... her outstanding interpretation of this ancient classical dance-form marked her acceptance as member of the esoteric society of Odissi dancers across the country. (Education World, 2003) she has blossomed into a promising dancer. (Oriya Samaj, 2002)

Productions: Shivārādhanā Shivārādhanā explore and worship the eternal duality of matter and consciousness, Purusha and Prakriti, Shiva and Shivā through the spiritual expressions of tāndava and lāsya. Shivārādhanā is a collage of traditional and new choreographies in Odissi dance. The Mangalachan invokes Lord Shiva based on Rudrashtakam, a composition of Sage Tulsidas in Uttarkanda of Ramcharitmanasa.

Sage Vyasa’s composition, Bhagawati Stotram is an invocation of Shakti, the Cosmic Energy in its dynamic form. She is the power


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and energy with which the Universe is created, preserved, destroyed and recreated by the trinity of Hinduism Bhrahma, Vishnu and Shiva. Next, the artiste embodies the duality of Shiva and Shivā with Adi Shankaracharya’s Ardhanareeshwar stotram. Next, traditional Odissi composition, Moksha, 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.

Artistic credits: Choreography/Concept/Performance: Kelucharana Mahapatra, Shreelina Ghosh Sitar and Music composition: Pandit Bhubaneshwar Mishra, Sri Sukhamay Bhattacharya Pakhawaj: Guru Giridhari Nayak, Vocalist: Sri Biswajit Ghosh, Flute: Sri Chinmoy Karmakar

Panamāmi Buddham Panamāmi Buddham: In today’s war-ridden world Buddhism spreads the message of peace. Middle path is an answer to Extremism that has brought the world to the brink of Self-destruction. Panamāmi Buddham moves beyond the traditional Oriya and Sanskrit and attempts to imbibe in it the theme of Buddhism through the usage of Pāli chants. The invocatory piece in Pali praises the Bodhi Tree that has been watered by the grateful teardrops of the Great Sage Himself. Lord Buddha and the seven Holy Sites of His attainment of enlightenment are worshipped in Vandanā. The abhinaya is based on a tale from the Avadānashataka, oldest of the Buddhist Texts. The tales of the Avadānashataka say how one is freed from the cycle of births and deaths through complete submission of one’s self to Lord Buddha with absolute and steadfast faith. This is the tale of the Shrimati, a maid in the royal house-hold of Ajatashatru, King of Magadha. The repertoire ends with the traditional Odissi Moksha on the Pāli prayer of Nibbāna.

Artistic credits: Choreography/Concept/Performance: Shreelina Ghosh Sitar and Music composition: Sri Sukhamay Bhattacharya Pakhawaj: Guru Giridhari Nayak, Vocalist: Sri Biswajit Ghosh, Keyboards: Sri Amiyo Ghosh Flute: Sri Jayanta Chatterjee, Mandira: Sri Murari Patra


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