International Odissi Festival 2011: Sanjukta Dutta performs Hamsadhwani Pallavi
Director: Kelucharan Mohapatra
Duration: 00:14:24; Aspect Ratio: 1.778:1; Hue: 19.394; Saturation: 0.259; Lightness: 0.061; Volume: 0.143; Words per Minute: 41.431
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.
Sanjukta Dutta started dancing at the age of nine under the guidance of Yudhisthir Nayak. Presently, she trains with Bichitrananda Swain at Rudrakshya, pursuing her Masters in Music at Utkal Sangeet Mahavidyalaya, Bhubaneswar. Dhe has also been awarded the Senior National Scholarship of the government of India. She has travelled all over India and participated in major festivals like National Festival of New Choreography, New Delhi, Kalidas Samaroh, Ujjain, Konark Dance Festival, Puri Beach festival,etc. She has performed solo at Sangeet Natak Akademi, Bhubaneswar and has won accolades in various competitions.
Here, she performs Hamsadhwani Pallavi, a pure dance item choreographed by Kelucharan Mohapatra, set to Raga Hamsadhwani and tala Talamalika.
Bhubaneswar, Orissa
Bichitrananda Swain
Gangadhar Pradhan
Raga Hamsadhwani
Rudrakshya
Kelucharan Mohapatra gharana
pallavi
talamalika
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.
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