2.1 Odissi; from the eastern state of Odisha is one of the principal traditional dance styles of India. Odissi is marked by elaborate grace and lyricism. In terms of technique, it is characterized by strong feet and leg movements that are rooted to the earth, combined with the graceful and flowing movements of the torso. This isolation of the torso and the lower half of the body is the hallmark of Odissi. The Tribhangi or the S shaped posture and chowka the quadrangular posture are repeatedly intertwined essentially to link series of still poses reminiscent of temple sculptures.
Now we present the first dance sequence of traditional odissi repertoire; Mangalacharan, the dance begins with kadaschit kalindi a sloka based on Devi concept, followed by Bhumipranam (asking forgiveness to mother earth). Then the dancers continue dance with “Guru Vandana ; A philosophical interpretation of Guru (The one who is like Brahma, the creator, Vishnu, the maintainer and Shiva who is the creator and destroyer of the whole universe), is portrayed through slow movements and poses. The dance ends with Sabhapranam: threefold salutation, above the head to the Gods, in front of face to the Guru and in front of chest to the respected audience.
2.2. Sthayee ; means permanent. Here the emphasis is given to a permanent speed or laya of a rhythm cycle. It is not accompanied by song or recitation. A refrain of rhythmic syllables (Take dha dha kititk taham thei thei) are provided throughout. Following the Syllables and Taal, the dance begins with a series of poses depicting actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Double sided drum), Karatala (Cymbals) and Venu (Flute). This brings out the interrelationship between dance and the sculpture adorning the temple walls of Odisha. These poses are stringed together with steps in different pattern.
2.3. Pallavi literally means “blossoming”. This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso, feet, then gradually builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multi-layered dimensions of taal (rhythm) and laya (speed). It’s a pure dance sequence set to raag Aravi and taal Ektaal.
2.4. Abhinaya: “Ki sobha go Kunje”The dance begins with a small sequence in Saberi Pallavi. Then the dancers present the beauty of Vrindavan: the enchanted woods frequented by Krishna, in the company of his playmates, where he draws the Gopis and his beloved Radha with the mellifluous notes from his flute; The verses are taken from one of the old odiya poetry “ki sobha go kunje”that describes the beauty of youthful Krishna sporting with gopikas in Vrindavan, the magical space.
Festivals of India:
One cannot emphasise enough on the importance of practical implementation. As Socrates rightly says, “I Hear and I forget, I See and I remember, I Do and I understand”, On this very note: Dancing Dolls brings to you “Festivals of India” possibly, to imbibe their learning’s by literally doing it with actions.
The festivals of India represents the creative adventure where the students are going to present a dance sequence set one festival song in each month of a Gregorian calendar, from January to December.
Guru- Gullapudi Raman Kumari