International Odissi Festival 2003: Sujata Mohapatra performs Hamsadhwani Pallavi

Cinematographer: Shaina Anand

Duration: 00:12:39; Aspect Ratio: 1.333:1; Hue: 103.878; Saturation: 0.046; Lightness: 0.076; Volume: 0.121; Cuts per Minute: 4.189; Words per Minute: 47.736

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.

A leading Odissi soloist, Sujata Mohapatra is a disciple and daughter-in-law of the legendary Padma Vibhushan Guru Kelucharan Mohapatra. Intensively trained and groomed by her guru for more than eighteen years, she is the bearer of his priceless cultural heritage. Sujata has also undergone training at the Odissi Research Center in Bhubaneshwar and is currently guided and supported by her husband Ratikant Mohapatra. In addition to her training in Odissi, Sujata holds a Master's Degree in Oriya literature from Utkal University and has extensively researched temple architecture relating to the dance form.

Here, she is seen performing Hamsadhwani Pallavi, in raga Hamsadhwani and tala Talamalika. This pallavi was composed by Guru Kelucharan Mohapatra in Cuttack in 1978 for Kumkum Mohanty. Guidance on the types of talas and jatis was provided by Kumkum Lal.

Washington, DC
pallavi

Raga Hamsadhwani
Aroha-avaroha: Sa-re-ga-pa-ni-sâ/ Sâ-ni-pa-ga-re-sa
(All 'shuddha' notes)
Raga: Hamsadhwani
Tala: Talamalika
_______
Sthayi ukuta:
...ta jhenu taka jhenu
(Sam - first beat) Ta jham ta jham tari
jham- ta na na ta-ri
jham-ta na na tari
ta-jham-ta-jham
takajhenu-ta-jham-ta-jham
tari-jham-ta-jhenu-taka-jhenu
ta jham ta jham tari
jham - - ta na na tari
jham - - ta na na ta-ri
ta-jham-ta-jham

Tala: 4 beats - chatusra ektali.
Sthayi:
takajhenu ta jham ta jham tari jham...
(the ukuta continues with strings of 4 or 8 extra syllables added to lengthen or shorten an avartan or one complete cycle of the ukuta)
Like most other pallavis, Hamsadhwani Pallavi has a joyous entry where the dancer covers most of the stage space on her entry, literally marking her terrain before 'beginning' the sthayi with the small and minimal movements of eyes, hands and torso.

Tala: 4 beats (chatusra ektali)
Antara 1:
(Drim-ta ta-na-na-na ta-drim ta ta-na-na) x2
drim-ta ta-na-na ta-drim ta ta-na-na
drim-ta-ta-na-na-na-ta-drim-ta-ta-na-na
(One cycle of the ukuta is set to only instrumental music. The person playing the mardala - possibly Guru Kelucharan Mohapatra in this case, recites the tala.)

Tala 4 beats (chatusra ektali)
...antara 1 continued:
Drim-ta-drim-ta drim
ta-drim-ta-ta-na-na
ta-na-na-na-di-re-na-na
ta-drim-ta-ta-na-na
(The same sequence is repeated time in a tala variation.)
The same ukuta is then repeated in a faster speed, leading on to the tihai.
Drim-ta-drim-ta drim
ta-drim-ta-ta-na-na
ta-na-na-na-di-re-na-na
ta-drim-ta-ta-na-na
(Tihai)
[Drim-ta drim-ta (ta-na-na)x3] x3

Interlude between two antaras, in 4 beats - chatusra (ektali).
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2
The second is in the tala of the following antara, in four beats.

Tala: 4 beats (chatusra ektali)
Antara 2:
(Sung in sargam, no ukuta)
Pa-ni-pa-ni-sâ-rê-sâ-ni
pa-ni-sâ-rê-sâ-ni-pa-ni-sâ- -
Sâ-rê-gâ-pâ-gâ-pâ-gâ-rê
sâ-rê-sâ-ni-pa-ni-pa-ma
re-ga-pa-ga-pa-ni-pa-ni-sâ!
Sâ-rê-sâ ni-sâ-ni pa-ni-pa ga-pa-ga (re-ga-pa-ni)
ni-sâ-ni pa-ni-pa ga-pa-ga re-ga-re (sa-re-ga-re)
(sa-re ga-pa ni-rê-sâ!) x3

Interlude between two antaras; the first avartan is in 4 beats. The second is in the tala of the following antara, in five beats - khanda (ektali).
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2

Tala: 5 beats (khanda ektali)
Antara 2:
(Sargam)
Ni-sâ-ga-rê-sâ
ni-sâ-rê-sâ-ni
pa-ni-sâ-rê-ni-sâ...
Ni-sâ-rê-sâ-ni
pa-ni-sâ-ni-pa
ga-pa-ga-re-sa-re...
Sa-re-ga-pa-ga
re-ge-pa-ni-pa
ga-pa-ni-sâ-ni
pa-ni-sâ-rê-sâ
(Gâ-rê-sâ-ni-dha-sâ...)x3

Interlude between two antaras; the first avartan is in 4 beats. The second is in the tala of the following antara, in six beats - dadra.
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2

Tala: 6 beats (dadra)
Antara 3:
(Sargam)
Sâ-ni-sâ-rê-gâ-rê
sâ-rê-sâ-ni-sâ-ni
pa-ni-sâ-rê-sâ-ni-sâ...
Ni-sâ-ni-pa-ni-pa
ga-pa-ga-re-ga-re
sa-re-ga-pa-ni-sâ-ni...
Pa-ni-sâ-rê-gâ-rê
sâ-ni-rê-sâ-ni-pa
Sâ-ni-pa-ga-dha-pa
ga-re-pa-ga-re-sa
(Pa-ga-pa-sâ-ni-rê-sâ...)3

Interlude between two antaras; the first avartan is in 4 beats. The second is in the tala of the following antara, in seven beats - tisra triputa.
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2

Tala: 7 beats
Antara 4:
Pa-ni-sâ-pa-ni-sâ-rê
ni-sâ-rê-ni-sâ-rê-gâ
sâ-rê-gâ-pâ-gâ-rê-sâ-rê...
Ni-sâ-rê-gâ-rê-sâ-ni
pa-ni-sâ-rê-sâ-ni-pa
ga-pa-ni-sâ-ni-pa-ga-re...
Sa-re-ga-sa-re-ga-pa
re-ga-pa-re-ga-pa-ni
ga-pa-ni-ga-pa-ni-sâ
pa-ni-sâ-pa-ni-sâ-rê
(Gâ-rê-sâ-ni-rê-sâ-ni-sâ...)3

Interlude between two antaras; the first avartan is in 4 beats. The second is in the tala of the following antara, in nine beats - sankirna (ektali).
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2

Tala: 9 beats (sankirna ektali)
Antara 5:
Gâ-gâ-gâ rê-gâ-rê sâ-rê-sâ ni-sâ-ni pa-ni-pa ga-pa-ga re-ga-re sa-re-sa nį-sa-nį-sa...
pą-nį-pą nį-sa-nį sa-re-sa re-ga-re ga-pa-ga pa-ni-pa ni-sâ-ni sâ-rê-sâ rê-gâ-rê-gâ...
Gâ-pâ-gâ rê-gâ-rê sâ-rê-sâ ni-sâ-ni pa-ni-pa ga-pa-ga
ni-sâ-ni pa-ni-pa ga-pa-ga re-ga-re sa-re-sa nį-sa-nį
(Ga-pa-ga pa-ni-pa ni-sâ-ni-sâ!) x3

Interlude between two antaras; the first avartan is in 4 beats. The second is in the tala of the following antara, in four beats - chatusra (ektali).
(Drim-ta ta-na-na-na ta-drim ta ta-na-na
ta-na-na-na-di-re-na-na ta-drim-ta-ta-na-na) x2

Tala: 4 beats (chatusra ektali)
Ukuta:
(Ta-na-na)x4 ta-na-di-re-
(di-re-na)x2 ta-na-di-re-na!
After the ukuta is sung, the dancer moves in the repeat of the avartan, played by the string instruments. The piece, in this portion, is thus like a jugalbandi between the singer and the dancer.
(Ta-na-na ta-na-na ta-na ta-na-di-re-na...)x2
(Ta-na-di-re-na)x4
Ta-(ta-na-di-re-na)x4, the same as the previous ukuta, repeated with a different tala emphasis, starting on the half-beat instead of the sam.
(Ta-na-di-re-na)x4, within a shorter cycle, as the music and dance pieces get shorter, moving towards the crescendo of the jugalbandi.
(Ta-na-na)x4
(Di-re-na)x8; here the dancer and the singer come together, marking the end of the jugalbandi. This is followed by the tihai.
[(Ta-na-na)x4 ta-na-di-re-na]x3

Tala: 4 beats (chatusra ektali)
The pallavi returns to the sthayi, now performed at a faster pace. This is the concluding part of the pallavi.
Ukuta:
Takajhenu-ta-jham-ta-jham-tari-
jham-ta-jhenu-takajhenu
ta-jham-ta-jham-tari
jham--ta-na-na-ta-ri
jham-ta-na-na-ta-ri-ta-jham-ta-jham!
The ukuta is repeated several times, with different permutations of the tala in 4 beats.
After a final tihai, Sujata exits to applause.

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