International Odissi Festival 2011: Sutra Dance Theatre performs Shankarabharanam Pallavi
Director: Pankaj Charan Das
Duration: 00:11:03; Aspect Ratio: 1.778:1; Hue: 27.756; Saturation: 0.523; Lightness: 0.082; Volume: 0.125; Words per Minute: 5.607
Summary: The 4th International Odissi Dance Festival in 2011 was held from December 23 to 30, 2011, at Rabindra Mandap Bhubaneswar. The festival was preceded by an attempt to create a world record by having around 550 dancers perform together at Kalinga Stadium. It saw the participation of most major Odissi ensembles in Orissa and a few from outside the state. With performances for over twelve hours each day, the festival featured several hundred performers in solo, duet and group works over eight days. In its scale, the festival offered a bird's eye view of the landscape of contemporary Odissi and its ever-changing nature. It foregrounded new trends in choreography, music and costuming. The seminars during the festival sparked lively debates on issues and concerns in Odissi. One such concern, voiced repeatedly, questioned the definition of tradition within the space of the dance form and the limits it could be stretched to. This raised parallel questions about innovation and experimentation in Odissi - a debate that found itself mirrored in the performances during the festival.
Sutra Dance Theatre was established in 1983 by Ramli Ibrahim to explore, promote awareness and develop traditional and contemporary performing arts in Malaysia through the creation of strong original works. Over the years, Sutra has staged productions that have received national and international acclaim for their innovative theatre presentations.
This composition, Shankarabharanam Pallavi, is attributed to Guru Pankaj Charan Das. Here, its aesthetic is modified to suit the Deba Prasad Das style.
Pallavi composed by Guru Pankaj Charan Das, in Raga Shankarabharanam.
Pankaj Charan Das
Deba Prasad Das gharana
Malaysia
pallavi
Raga Shankarabharanam
Bhubaneswar, Orissa
Tihai
(ta-ri-jham)x3
Sthayi ukuta:
Ta-jhenu-ta-ri-ta-jhenu-ta
ta-thei-inda-ta-ham-ta-ri-jham
(variations, ending with a tihai)
Antara:
Kukundari-ta-jhenu-ta
jhena-jhenu-ta-thei-inda-ta
jheku-ta-jhenu-ta-ta-ri-jham x 2
drimi-ta-drimi-ta-ta-ri-ta-jhenam x 3
Jham-tari-ki-ta-ta-ka-
ta-jham-ta-ki-ta-taka
Jham-tari-ki-ta-ta-ka-ta-thei-tam
(Ta-ham-ta-ri-ki-ta
ta-ri-ki-ta-kukundari) x2
(ta-drim drim-ta-kita) x2
thei thei thei!
Return to sthayi ukuta
Ta-jhenu-ta-ri-ta-jhenu-ta
ta-thei-inda-ta-ham-ta-ri-jham
Antara (in sargam)
sargam
swara
Return to sthayi ukuta
Ta-jhenu-ta-ri-ta-jhenu-ta
ta-thei-inda-ta-ham-ta-ri-jham
Antara 3
It uses the same tune as the first antara, but is sung in bols at a faster speed.
The final return to sthayi ukuta. This is the end of the piece.
Ta-jhenu-ta-ri-ta-jhenu-ta
ta-thei-inda-ta-ham-ta-ri-jham
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