International Odissi Festival 2003: Manoranjan Pradhan and Minati Dasgupta perform Kirvani Pallavi
Director: Kelucharan Mohapatra
Duration: 00:13:43; Aspect Ratio: 1.333:1; Hue: 15.965; Saturation: 0.156; Lightness: 0.113; Volume: 0.371; Cuts per Minute: 6.118; Words per Minute: 16.241
Summary: The 2nd International Odissi Festival was organised by IPAP between August 28 - 31, 2003, in Washington D.C. Dedicated to the memory of Guru Pankaj Charan Das, who passed away in June 2003, it brought together Odissi dancers and scholars from all over the world.
Manoranjan Pradhan was trained at the Orissa Dance Academy in India under Guru Gangadhar Pradhan and completed an MA in Odissi dance at Sangeet Mahavidyalaya, Utkal University. A major part of his career has been spent dancing and teaching in Canada, Mexico and the United States. Minati Dasgupta has worked as a teacher at the Odissi Research Centre in Bhubaneswar. She has performed and taught workshops in the Odissi style in India and elsewhere and is an 'A' grade artist certified by the government of Orissa.
Here, Pradhan and Dasgupta perform Kirwani Pallavi. Pallavi literally means blossoming. This is applicable not only to the dance, but also to the music. It is a pure dance item in which a raga is elaborated through eye movements, body postures and intricate footwork. A pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso, hands and feet. It builds up to a crescendo to climax in an extremely fast tempo. Kirwani Pallavi is set to raga Kirwani and tala jhula.
Washington, DC
Kirwani Pallavi
Raga: Kirwani
Tala: Jhula
The piece is performed to live music. The musicians play a long prelude, where each instrument is introduced into the music, finally ending with a tihai on the mardala which is a signal for the dancers to enter.
Raga Kirvani
nritta
pallavi
Kelucharan Mohapatra gharana
Manoranjan enters from stage right; Minati from stage left.
Kiti taka dhai dha-tu-na dhini-taka-dhai-dha-ta...
A series of bols played on the mardala.
Sthayi:
Ukuta
Ta-ham-ta thei-inda ta-ri ta-jhena
The ukuta is repeated in various tunes with a different emphasis on tala after every set of movements using the right and then the left side of the body.
Mardala: Kiti-taka-dhai dhai dhai ta...
The sthayi ukuta enters a second phase where it accommodates progressively faster movements with a greater emphasis on the beats of the mardala.
[Ta-ham-ta thei-inda (ta-jhena)x3]x2
Ta-ham-ta thei-inda (ta-jham ta ri jhe na ta)x3
(Ta-ri-ta-jhenu-ta)x3
Sthayi:
Ukuta
(Ta-ham-ta thei-inda ta-ri ta jhena...)x3
The same sthayi ukuta is sung in a different tune.
(Ta-ham-ta thei-inda ta-ri ta jhena...)x5
A small tala interlude between the sthayi and antara. It is also designed to allow the dancer to conserve her strength and allow for a little rest before moving on to another strenuous part of the pallavi.
Antara (ukuta)
(Ta-jham-tari-jhena-ta-kundari-jhena...)x3
kukundari jhena tari-taka-jhena
Ta-jham-tari-jhena-ta-kundari-jhena
kukundari jhena tari-taka-jhena
Ta-jham-tari-jhena
(sargam)
Sâ-ni-rê-sâ-<gâ>-rê-sâ-ni-<dha>-pa-ma-<ga>
(Ta-jham-tari-jhena-ta-kundari-jhena
kukundari jhena tari-taka-jhena)x3
The tala emphasis varies for each avartan.
Ta-jham-tari-jhena-
(sargam)
Sâ-ni-rê-sâ-<gâ>-rê-sâ-ni-<dha>-pa-ma-<ga>
(re-<ga>-ma-pa-<dha>-pa)x3
Ta-jham-tari-jhena-ta-kundari-jhena
[(Ta-jham ta-jhena ta-kundari-jhena)x2
(kukundari jhena tari-taka-jhena)x2] x2
[Ta jhena...ta jhena...
(ta jhena)x3 ]x2
(pause) (ta-jhenu-ta-jhenu-ta)x3
Return to the sthayi, now sung slightly faster because this is the concluding portion of the pallavi.
Ukuta
Ta-ham-ta thei-inda ta-ri ta-jhena...
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