International Odissi Festival 2003: Excerpts from Shalini Patnaik's Kirwani Pallavi
Director: Kelucharan Mohapatra
Duration: 00:05:31; Aspect Ratio: 1.333:1; Hue: 346.137; Saturation: 0.065; Lightness: 0.080; Volume: 0.142; Cuts per Minute: 2.892; Words per Minute: 21.151
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.
Born and brought up in California, Shalini Patnaik trained in Odissi dance since the tender age of 5. She made frequent visits to Orissa Dance Academy, where she studied under the tutelage of Gurus Gangadhar Pradhan, Aruna Mohanty, Manoranjan Pradhan, and Yudhistir Nayak besides intense study with resident teachers of the Academy in San Diego, California. The California Arts Council awarded her a 'Next Generation Artists' grant for developing new choreographies in Odissi in 2002. The Orissa Society of Americas (OSA) honored her along with sisters Laboni and Shibani with the “Kalashree” Award for their contribution and promotion of the Oriya arts in North America. Shalini has presented Odissi at numerous Indian events, temples, multicultural festivals, conventions, museums, libraries, universities, senior centers, and dance festivals in the USA.
This clip is an excerpt from Shalini's performance of Kirwani Pallavi. Kirwani Pallavi is set to raga Kirwani and tala jhula.
Shalini enters from stage left and walks straight across to a point slightly off-centre on stage right, before she begins to crisscross the stage - walking upstage and downstage.
One hand on her shoulder and the second holding the body of the sari, in this case, her dhoti costume.
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