vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
@kamlesm
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
vksfMlh vksfMlh vksfMlh vksfMlh I don’t know exactly when for the first time I saw Odissi Dance. Dance is like something of KARMA of my previous birth. I cannot tell how I felt, when I heard oddissi for the first time. The sound of mardala (pakhawaj) was so powerfull that I could not resist my body from swaying on beats and more magic is there in the SILENCE in-between the beats. If you hear the beats then only you will realise the power of silence. Ta jham-tadi ke-jhena & all those sounds.
It was later when I started reading about odissi I came to know many things about this dance. Being from Kalinga, which remained independent kingdom for centuries, I was curious to know more about this dance tradition. I can imagine it being old or ancient as it’s Kingdom was.
Respected Smt Sonal Mansingh and Sanjukta Panigrahi are the two names which as it seems, I know them from ages.
Padma Vibhusan Sonal Mansingh ji many times had come to IITKanpur,on SPICMACAY tour and otherwise also. Once there was a programme in AND college Kanpur. I went to attend that also. Once She was staying at Guest house (visitor’s hostel) in IIT Kanpur, in evening prior to program few people went to have a chat with her. She opened her door, she might have been annoyed but she gestured that please wait, she will be coming. All of us gathered in the dining hall. Smt Veena Pani Shukla was also there. Dr Rath and all were there. In the L7 hall IIT
Edited compiled by Gaurang Mishra (@kamlesm) vksfMlh vksfMlh Oddissi- by Gaurang Katyayan MishraKanpur, Sonal Ji had danced many times. She presented that famous oriya story of crow.
Later once Smt Sanjukta Panigrahi came to IIT Kanpur, being a dance student I sneaked backstage and was able to talk with her. The moment she stepped on stage we were all in another world altogether. Her Manglacharan is the most powerfull performance. The way she started from one corner of stage and approached towards the lord Jagannath, it was an out of this world experience. So intense it was & every step she took towards lord Jagannath was like some magnetic power is guiding her towards lord. As if there was no one else only the dancer and lord are there. The whole atmosphere used to become under the spell, I felt like that. I don’t know for others. There was some magic around her programs. Most often not, if I may say so the soul of dance program was always the voice of Raghunath Panigrahi ji, her husband. Her dance got power from the powerfull singing voice of her husband….koi mane ya na mane.
These two stalwarts of oddissi I have seen many times. If I may say so (though I should not and I am none to compare) the most distinguishing feature in two was that Sanjukta’s dance was raw beauty and Sonal had sophistication added to it. That is all I can say…if I can. Once I tried to touch feet of Smt Sanjukta ji as she came backstage just after the performance, she became little bit angry and only when she wore her socks then I got permission to touch her feet(backstage of L7). I was trying to be selfish, as it happens with all students we immediately try to touch their feet as soon as we get a chance. It has become a fashion sort of thing.
When I touched feet of Sonal ji at Kamani Auditorium back stage she folded her hands in namaskar mudra and I think she pronounced OM and blessed me. That day she had presented the “Domni” or PanchKanya or so to say the nari element in the Buddhist journey. I think she had one male disciple that time. Because when I asked about my joining her institute she gestured that male disciple to help me with information.
On one occasion Sanjukta Panigrahi was to perform at Kamani Auditorium I think in 94/1995 or so? I was in the middle row. On the left side I saw Smt Madhavi Maudgalya sitting and was surprised that she being herself a great
Edited compiled by Gaurang Mishra (@kamlesm) vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishradancer has come to see dance of Sanjukta ji. Few rows ahead of her was a little girl, she was looking backward at Smt Madhavi Maudgalya. I was watching with excitement. That girl was watching Madhavi ji with lot of amazement and she forgot that she had come to see another great dancer which is in front of her. She was continuously watching Madhavi ji. I got emotional connection with that moment, as myself also an admirer of dance and thus whenever I get chance I also try to grasp as much I can the darshan saubhagya of such stalwarts, otherwise where else will we get the chance to see them with our eyes.
Later in life, I got chance to learn Kathak from Shri K D Srivastava ji at a School established by Smt Veena Pani Shukla ji at IITKanpur. Guru ji was teacher at Gandhi Sangeet Mahavidyalay Kanpur, He told me to buy a book on kathak by Tirath Ram Azad. I bought the book. There were pictures of Smt Madhavi Mudgal ji in kathak mudras. However I knew her only as Oddissi dancer through TV. Initially Madhavi ji learnt Kathak later she opted Odissi. She is a great creative artist. I saw her creative work at open air stage in Pragati Maidaan, New Delhi during the Trade Fair. She with her students created a beautiful composition involving the Pallavi- Swara pallavi. That group made very good group movements, sometimes a flower or star. When I was studying at Gandharv Vidyalaya I saw her student Reela Hota.
Edited compiled by Gaurang Mishra (@kamlesm)
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
Most mystical personality which had an impact on me was none other than great Smt Protima Bedi. The song “Mile sur mera tumhara” feys lqj esjk rqEgkjk and “Baje sargam baje har taraf se goonje bankar Desh Raag” Ckts ljxe Ckts gj rjQ Ckts gj ls xWawats cudj ns ls xWawats cudj ns ns’ ’’ ’k jkx k jkx k jkx k jkx
became instant hit all through the nation. These songs were the symbol of national integration. Odissi dance was filmed on Protima Bedi ji. That was the only one colorfull clip which I saw on Doordarshan, before that I had only read about Protima ji. Most memorable was one interview published in a Hindi Magazine named Vaama okek. On the cover was a bright photo of Protima ji, Big eyes, lined by the kohl. One line which was prominent I remember was- “ftldks tUe ysuk gS og esjh dks[k ls tUe ys” later I used to read all the material which came in my sight. Anything which had picture of Protima ji I would try to see it first and then try to purchase, if it was affordable to me. Back then I was unemployed. By 1989 almost she became my Manas guru. Then I read that she has established a school Nrityagram. Immediately I wanted to pack my bags and rush to Bangalore to get admission there. Later I read that how she singlehandedly cleared that plot of land and tried to make her dream school. In local language there the word “Bedi” had some different meaning that’s why she changed her name from Protima Bedi to Protima Gowri, or Gowri amma. I read that children from neighbouring villages were also taught dance in her school. She was the most courageous person and very frank. I also read how she convinced Guru KeluCharan ji. She reached his village and when he did not agree, she continued to stay in village until Guru relented and she became one of his prominent student. She did hard work and learnt the dance. Vasant Habba became a National Event in dance calendar of all. This dance festival was thought be different and unique in many ways.
Edited compiled by Gaurang Mishra (@kamlesm)
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
I came to know by reading print media, Indrani Rahman, one of the star performers of yore for the first time staged a dance item based on oddissi idiom. It was said to be the first time Oddissi was staged in India. Later Indrani Rehman continued it for some time thus it became known throughout the power circles. Indrani Rehman was daughter of another great personality, Ragini Devi-originally Ms Esthar from Michigan. She learnt Indian danceBharatnatyam and worked for popularisation of dance. She was married to Ramlal Bajpai. But there was one Smt Mohanty who presented Odissi for the first time.
Guru Hare Krishna Behera, Guru Kelu Charan Mohapatra, Deb Prasad Das (guru of Indrani rahman), guru Gangadhar Pradhan (who came to IIT Kanpur and I met him). Are few names of guru, those who relentlessly worked for so many years and brought oddissi dance as we see today. They are the ones who revived this extinct ancient art.
When I was working in Delhi University (From 1992 to 1996), I tried to attend as many programs of dance as I can. But to reach Mandi house from Kingsway camp and returning back was tough for me. Whole area would be full of such programs. Triveni Kala Kendra, Bhartiya Kala Kendra, Kathak Kendra, Kamani Auditorium and all that area.
There was this program Draupadi by smt Sonal Mansingh ji. I went to see at Kamani auditorium. I purchased ticket of Rs 25/-. There was some controversy regarding giving credit of Music composing. But yes for the first time I saw bold Props were used in any dance show. The full sized mannequins were standing on stage and were effectively used to convey the Male-chauvinism in the Mahabharata period. It was story told from the view point of Draupadi. Later Sonal Ji experimented and presented oddissi many times. With Jiwan Pani she collaborated and produced some works on Oriya poetry. Once she presented Dharma Shringar, in that female “shakti” elements, mostly Buddhists were portrayed.
Similarly SmtSunjukta Panigrahi also worked on Rabindra Nath Tagore, surdas & Tulsidas introducing Bhakti in dedication to lord Ram. Ram Charit Manas got interpreted through odissi, Other than the usual Geet Govinda of Jayadev.
Edited compiled by Gaurang Mishra (@kamlesm) vksfMlh vksfMlh Oddissi- by Gaurang Katyayan MishraOnce I went to see a dance program on the theme of Earth and Environment. In the age of pollution this theme was quite attractive to all but to introduce in dance was something novice. Later when I reached the Kamani Auditorium, New Delhi I saw Smt Ranjana Gauhar ji. I must accept that prior to that I never saw her. Later I came to know that She just recovered from some major injury.
I only knew about Sonal Ji, She many times in her interview had told that she met an accident and got bone fractures at many places. People there were of the view that she will never be able to walk or dance. But despite of grave injuries, she overcame all trauma with her determination and returned to dancing.
By 1990 Nrityagram came into being. I started reading about it through Hindustan times and Times of India paper at Kanpur. I also got to know that teaching had begun in full swing. I was attracted towards name of Sarupa Sen. News Papers were writing about her potential. Then only through the print media I got to see her photos and also came to know about her calibre of new idioms of choreography. Later the news came that Protima ji went to the Kailash Mansarover and never returned from that abode of Lord to this worldy abode. The nrityagram might have got its promising caretaker in form of Sarupa Sen. I got that kind of vibes through reading the reviews of her dance.
Edited compiled by Gaurang Mishra (@kamlesm)Oddissi has come a long way from the world of Maharis and Gotipuas. There was an article in Hindustan times or TOI titled “Last Mahari” I think I read in 1983 to 1986 or so. I used to collect many such newspapers. But once I was not in home, my younger brother sold all my collection of old newspapers, which I kept through many years. Many people think like that. They think all such collection of old news paper as garbage but it was a treasure for me. In those days there was no mobile phone, even we did not own a TV? TV came to my home in1982. That too it was black and white. That was only medium which i was exposed to, but there was NewsPaper & other print media. Books were out of bound for me. We cannot afford such things in those days. My mother used to work day and night just to earn money, in addition to my father’s income so that we children can get a better life. There were few black and white photos of Maharis printed in that paper. I don’t remember the names- Priyamvada, Haripriya, Shashipriya or similar kind of names-Three or four were there. One photo was of a tall lady, she was bold. She told to the interviewer that she refused to perform at the palace for the raja, as she considered herself as Devdasi and as per the customs she was married to Lord Jagannath. Thus she can never dance in front of any man. Very interesting aspect of Mahari dancing is that; there is a system in which few ladies are called Bhitar Gauni and Bahere gauni. Means few ladies which are assigned(allowed) to sing inside the sanctum where Lord is situated are called as Bhitar Gauni and ladies which are not allowed inside the sanctum but they sing just outside the sanctum are Baher gauni. When there is such type of clear demarcation in the duties and accessibility rights then that Mahari which refused to perform in the palace was quite correct in denying. These Maharis danced daily, several times as ritual in front of lord. Morning, time of feeding and after meals when lord goes to sleep. Thus there are duties and times clearly assigned to each Mahari. According to that they come in temple and perform their duties. Thus I think if they are married wife of Lord Jagannath then how come they are looked down upon?. Same thing happened all over India. Devdasi in south, Kalavantalu-Andhra and kalavant-Maharastra, Angvastram-Konkan, famous goddess Yellamma to which little girls are
Edited compiled by Gaurang Mishra (@kamlesm)
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
donated/offered also become devdasi. Inspite of such a pious “Bhagya” or “SauBhagyawati” they were made to suffer in this land of high spiritual powers?. They were exploited by MEN-Priest, kings, landlords and in villages all men.
There were group of boys in Villages of Orrisa, boys dressed as girl perform dance on several occasions. These boys perform few breath-taking formations which even normal boys cannot do. But how do they learn it? There might have been a system to teach dance to these young boys. Therefore, I believe there existed dance gurus who taught these boys. This existed all through centuries and it is not a recent phenomenon. We know the rural areas. How they survived in those times when no media existed. Through such festivities only people could get recreation in absence of hand held devices, as we have now days? Rural areas cultured a system where few Sadhus or mighty men were always present in many forms. One such is known as v[k v[k v[kk kk kMk MkMk Mk “Akhaada”. Often these were affiliated to temples, Mahants, groups of sadhus or any Mighty person like Jamindar, Raja, thakurlandlord etc. Thus these systems had patronisation. But then what about teaching? I mean to say there existed parallel system of dance teaching also one for Gotipuas and one among Maharis. But there could have been a system of Rajdasi or Rajnartakis also, how can this part of India could remain un-touched by the Courtesan system? May be very less in number but there could have existed a system of dancers who entertained the mighty- Raja, kings, Jamindars(land lords). Often a word Nachauni, Nachuni, nachni is heard in Oddissi language. These words exist in language that means the system of dancers also existed. Now it is for linguistics to research when such words Gauni, nachauni came into Oriya language.
Edited compiled by Gaurang Mishra (@kamlesm)
boys performing Gotipua at ITF A & N Islands
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
When Smt Sanjukta Panigrahi came to IITKanpur she had told that there was one saying in Orissa in those days, that says-Salajja baye, Nirlajja gaye and Behaya dances….it can be summarised as those having some lajja (respect/shame) plays instruments, and without some respect sings and one who is shameless dances? Such was the status given to dance in old timer society. She once requested the temple authority to allow her to perform as Devdasi for Lord Jagannath, her request was turned down.
Guru Kelu Charan Mohapatra started journey through the Gotipua route only. The story of Chau dance is also attached with Oddisi. I have read that father of Guru Kelu Charan never wanted his son to join Gotipua group, as he considered that very bad, he was suspicious of their activities. But due to the Jatra, the local natak or drama/theatre companies thrived in those remote villages. These families were of Pata chitra painters. Later Kelu babu worked for few years in such a theatre company and got hand on experience in playing instrument particularly the Pakhawaj. He became expert in it. But his passion was Dance. He longed to dance. he did join gotipua group and also was got favour from local landlord. Then together with few like mind artists, he got chance to develop a Dance Idiom and he left a stamp of his own on this ancient form of dance. Guru Kelu Charan Mohapatra became most popular and well known guru and performer of Oddissi in the world. He once came to Port Blair and performed at Ambedkar Auditorium, I think, for AIR All India Radio function. He passed on his dance passion to his son Ratikant.
I felt very sad when I found that Wikipedia had a very small page when I searched for Kelu Charan Mahapatra? Who is considered as God to many dancers and a temple stands for him at Nrityagram (must be idea of Protima Gowri Bedi ji?)
Later I find that Ileana Citaristi and Sharen lowen are two big names without which we cannot sum up Oddissi. They acquired a cult status in field of oddissi but both were born outside India and made India-Orissa as their home. Illeana actually learnt Chau dance, Kathakali (karali art) and became an expert. She also learnt Oddisi from Guru Kelu Charan Mahapatra.
Smt Sharen Lowen came from America and learnt the oddissi. I read some where daughter of Sharen lowen was
Edited compiled by Gaurang Mishra (@kamlesm)
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
also in field of dance. Both of them contributed in making oddissi popular in the globe.
The Maharis carried forward the ritual dance traditions of Jagannath Temple. I cannot imagine that it was done without teaching? Raj Nartaki were there, thus they must also be learning from teachers. May be due to the ignorance and negligence of people at large this ancient art form became obscure, but due to few “Gunijana” this was revived. There is role of media also in its revival. Thanx to the Immortals souls like Mrinalini Sarabhai, Rukmini Arundale, Kamladevi Chatopadhyaya, Sitara devi the dancing became a respectable thing. With that in Orissa also people started learning this dance and now most of the people often the wealthy ones show off by showcasing their daughters as Oddissi dancer? These 2 pictures below show the journey of dance from “ritual” to group choreography
Edited compiled by Gaurang Mishra (@kamlesm) vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
Few shades of life, but here it is in form of Oddissi dance. That was a part of daily life of the Lord. Who was supreme the Jagannath at Puri. If you ask any dancer, they will say that they are Bhakta and they do their sadhana or upasana. that is the root of all performing arts in India. But it is said that at Puri temple mostly the Maharis were untouched from the prostitution element, largely it is believed. Secretly what happened no one knows, but it was between the temple priests and the King. No one else knew about it.
Above are few pictures of Maharis, Shashimani, Suhasini, Dungari. Names are many, but they were the few chosen ones who carried forward this art to our age. But most of them did not get their due fame and more importantly the respect. As dancers expect and enjoy today!!
Edited compiled by Gaurang Mishra (@kamlesm)
Another very good performance I witnessed at Hall L-7, IIT Kanpur was by Smt Smriti Arvind. Earlier she was Mehta. I saw her in the lead role in TV serial Charitraheen pfj=ghu pfj=ghu It was powerfull acting. As per the novel she enacted whole persona of the leading lady of Novel by Sharatchandra. But when I saw
Smriti in this awatar of an odisi dancer I was amazed. She enacted the scene of Radha and gopis going for bath in river. She enacted whole scene of how Radha disrobed herself and keep the cloths near the bank excellently. Most of the people felt the shyness of Radha, when she tries to pull off her choli. That was a superb Abhinaya. Nowadays lot of material is available on internet about Shashimani, who is said to be the last Mahari of Jagannath Temple. She was Bhitare Gauni. Means one who is allowed inside sanctum and sings for lord? Even normal human beings are not permitted there. Saubhagya they had?
Edited compiled by Gaurang Mishra (@kamlesm) vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishramore are working in Oddisi. below) was a great teacher.
Madhavi learn Many others also learnt Odissi but did They performed Bharat Natyam. As at but
Kumkum Mohanty, Sujata, Sutapa, and many m is very long. HareKrishna Behera (see the pic here He learnt Kathak from Pt Birju Maharaj ji, (whom I consider as my Manas Guru). Yamini Krishnamurthy, Sonal Mansingh, Madhavi Mudgal, Smriti Arvind learnt Odisi from him. not perfrom it. T Sunjukta Panigrahi had learned Bharat Natyam at Kalashetra but choose to perform Oddissi.
As happened in other parts of India, several changes were brought into the Oddissi dance also. From costume to the format of perform
re working Oddisi. List was (whom I as learnt Many hey Natyam. had Natyam As India, several of performance. or the adorned
Earlier I have seen on TV that many alankars or alnakarans or the ornaments were adorned by the dancers. hanging type layers. Head gear was t long temple.
There were so many hanging jhalars in bajubands, bangles and the belt had several circular spherical type of balls. It comprised of several laye floral decoration on the jooda. It was a long one tied with the hair knot at the end. It symbolised the long tall shikar of temple
were so several rs. gear- the at end.
SmtSonal Mansingh has described the similarity of Temple Architecture with the Dance. As there is huge steep inclined roofs of temple rising above in Shikhara in South Indian temple, similarly in BharatNatyam we find lot of
Edited compiled by Gaurang Mishra
(
geometrical and straight lines in mudras. But when you see the temples of Orissa one can notice the curves in the temple domes etc, where sometimes it looks like waves type. That is reflected in the dance movements also. All the gestures are not straight but hands and legs move in curved fashion.
n you see the reflected in the not
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra@kamlesm)
Following is a journey of Oddissi dance from temple precinct to the Stage solo performances and from there to the choreography, and from there it travled to the national dance festivals. But interesting is that all returned back to the Temple itself. Earlier nobody wanted to touch a Nachuani, or gauni or Mahari, who were the wedded wives of Lord!!, but now-a-days respected people are dancing that very same dance and for a profession too (earning their livelihood through dance) it was same as Mahari was doing. But in today’s time it is considered a respectable job? But i am happy that further it has opened avenues for others also. Choreography? Choreographers, few also take it to Ramp choreographing! Accompanying artists, singers too, Art critic and dance critics who write about dance everywhere? Film producers, directors and actors? Now many bloggers too are earning from same art which was confined to the Temple? Incredible it is?
Edited compiled by Gaurang Mishra (@kamlesm)
Edited compiled by Gaurang Mishra (@kamlesm)
I must give credit to google. Without this I could never ever compile these pages. And listed below are few references from where I have taken pictures. But narration is all my own, based on information gathered through these years watching Black and white Doordarshan (@DD_National).
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
vksfMlh vksfMlh Oddissi- by Gaurang Katyayan Mishra
I salute those great artists who kept alive this art upto this day. Otherwise this art could have become extinct by now. In this age of IT where is the time to learn and practice dance for whole day and that too living with the guru ji in his village, Totally un-imaginable in this age. Thus their sweat is more precious and must be given respect. Mera unko sabko Sat sat naman.
I seek forgiveness from everyone for mistakes if any in preparing this memoir kind of thing. I have searched the net for few pictures. Because, since childhood i was watching Doordarshan only and grasped all which i saw. A black and white TV of UPTRON came to my home in 1982 and since then i could see all such programmes as i can inside my home only. Earlier i had to go to other’s house to see. And imagine what i might be feeling at that time, when i was supposed to see first whether TV is ON or not?, If On then whether i will be given permission to see it? And whether I will be allowed to enter their room? And after that, will i be allowed to sit on the sofa or chair in their drawing room? That depended on the perception of that household towards my economic status? One aunty used to say if you see then sit properly and don’t make the curls in the cushion covers etc..... thus i was like an untouchable person. And most of the years from 1976 to 1981 i had to see TV by hanging in the window at one house at Type one IIT Kanpur, that owned a black and white TV.
When guru Gangadhar Pradhan came to IIT Kanpur, instantly i started talking to him. He was a simple and easy or friendly in nature, that’s why i could talk to him. He a great person, guru, who was i? But due to his generosity i was able to talk to him inside out of my heart. He said that he has established an academy if you want to learn you have to come to Bhubaneswar. That time(1988, 89/90) i think KumKum Mohanty was famous and had established or teaching at a academy...i saw her on TV only. In this picture on left he looks similar to me. I mean i was similar looking lean slim back in 1986
references
http://www.sacredspaceblog.com/ on this website I found material for the Shashi mani
http://cinemanrityagharana.blogspot.in/2013/11/odissi-dance-in-odia-films-including.html
https://sangeethas.wordpress.com/2013/09/05/reblogging-the-last-mahari/ http://www.harekrsna.com/sun/features/03-09/features1304.htm
http://www.narthaki.com/info/articles/art102.html
http://timesofindia.indiatimes.com/life-style/people/The-bell-tolls-for-this-Devadasi/articleshow/11165308.cms
http://indianexpress.com/article/india/india-others/last-living-devdasi-of-lord-jagannath-dies-at-theage-of-93/
http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-last-of-hertribe/article4342155.ece
http://www.nytimes.com/2015/03/24/world/asia/sashimani-devi-last-of-indias-jagannath-templeritual-dancers-dies-at-92.html?_r=0
Edited compiled by Gaurang Mishra (@kamlesm)