'Teen Deviyan' of Odissi Dance

Srjan, the Odissi Dance School set up by the legendary Odissi Guru, the Late Kelu Charan Mohapatra and carried forward by his son, Guru Ratikanta Mohapatra and daughter-in-law Sujata, organized a 5-day dance festival from the 5^th to the 9^th September, 2016. The first day saw a unique dance number titled ‘Naari’ which saw the three leading ladies – Teen Deviyan’ – of Odissi dance, Guru Aruna Mohanty, Guru Meera Das and Guru Sujata Mohapatra perform together. It was like the confluence of Ganga, Yamuna and Sraswati!

Guru Aruna Mohanty runs her dance school Odisha Dance Academy at Bhubaneswar and Guru Meera Das has her Gunjan Dance Academy at Cuttack. Guru Sujata Mohapatra joined them in the presentation of ‘Naari’. I have written about Sujata in my post ‘A Legend in the Making’ dated 18.07.2014.

‘Naari’ presented three characters -  two from the Indian epic Ramayan, viz., Seeta, the consort of Lord Rama, the Shavari – the tribal woman devotee of Rama, and the third, the Indian historical character Meera, who considered herself as the consort of Lord Krishna. Aruna played the role of Seeta, Meera, that of the Shabari and Sujata, that of Meera.

Seeta, after being abducted by Ravana and got released by Rama after defeating and killing Ravana, was asked to undergo Agnipariksha – test by entering fire – to prove her purity and chastity, as she had been interned by Ravana. Then Rama, Seeta and Laxman returned to Ayodhya and Rama’s coronation as the King was performed.  At that time, a washer man’s wife had gone to her parents’ house without informing her husband and when she came back, he refused to take her back. She argued that when King Rama had accepted Seeta even though she had spent so many days in Ravana’s land, why she could not be accepted. When this matter reached King Rama, the epitome of justice, equality and rajadharma, he banished Seeta to a forest. When again Seeta was brought back to Ayodhya, Rama, true to his devotion to justice, asked Seeta to once again to undergo the ordeal of Agnipariksha. An exasperated Seeta appealed to Mother Earth – King Janaka had found her under earth while ploughing land- to take her back into her fold. A wide crack on earth appeared, Seeta entered into it and it was closed. This poignant role of Seeta was played by Guru Aruna Mohanty with the other danseuses accompanying her.  

Shabari – the tribal woman – was a great devotee of Rama and was eagerly waiting for the day when the Lord would set foot in her hut. When she came to know that he was indeed coming, she collected various berries in the forest to offer him. When he came, she sat him down reverentially and offered him the berries but before handing these over to him, she tasted each berry to find whether it was sweet or otherwise. She rejected those which she found not sweet and gave only those which were sweet, unaware in her devotion that what she was offering, was food already been partaken by her! Laxman was startled by this and told so to Rama. But Rama understood the feeling in her heart and gladly ate those berries. At the end, Rama blesses her and she gets salvation. The Sabari‘s actions and facial expressions were meticulously presented by Guru Meera Das.

The last portion of the dance-drama portrayed the devotion and complete surrender by the earthly person Meera to Lord Krishna, who considered herself as Lord Krishna’s consort, was portrayed by Guru Sujata Mohapatra, with all its nuances. 

These three parts were nicely blended in the presentation by the three high priestesses of Odissi dance form. When one of them was portraying her assigned role, the other two were accompanying her, creating the ambience. It was a very enjoyable and memorable evening.
 

An Odissi dance presentation by Guru Aruna Mohanty:




A presentation by Guru Meera Das:





'Ravan' - A Srjan Creation with Sujata Mohapatra as Sita and Ratikant Mohapatra as Ravan:





TAIL PIECE:
Remember the old Hindi movies ‘Teen Deviyan’ and ‘Teen Bahuraniyan’?

Daksha Mashruwala - Crossing Oceans

In my post ‘Introductionto Odissi’ dated 02.03.2015,  i have uploaded as the first video-clip, a lecture-cum-demonstration of how to learn Odissi dance by Daksha Mashruwala. A disciple of the legendary Odissi dance guru the Late Kelu Charan Mohapatra, she started her Odissi dance institute ‘Kaishiki’ in 1992 in Mumbai (then Bombay). The word ‘Kaishiki’ literally means ‘graceful style’ and Odissi dance has a lilting style.

On the 28^th August, 2016, I had the good fortune of watching the presentation of ‘Crossing Oceans’ a fusion of Odissi, Chhau and Contemporary dance forms choreographed by Daksha along with Raka Maitra.  It wove together 3 folklores, Greek, Australian and Japan, blended together. The legendary Greek hunter Orion, King’s prime huntsman, fell in love with the king’s daughter and once, in an intoxicated moment, made advances towards her. The enraged king cursed him making him blind. With Kedallion sitting on his shoulders and guiding his faith, he went to Lemnos where, with the first rays of the rising sun, he recovered his vision. Taking Artemis, the beautiful goddess as his partner, he resumed hunting. He grew vain and boasted that he would kill every beast on earth. Mother Earth sent a giant scorpion to kill him. In the end, the two killed each other.  Artemis placed Orion among the stars and Mother Earth placed the Scorpion in the opposite end of the sky.    

The second folklore depicted in the dance was the Australian lore of the Rainbow Serpent. In Dreamtime, the world was bare and lifeless. The Rainbow Serpent slept under the ground. One day, he woke up from his slumber and began to traverse the land. As he pushed his great body, he forced out hills and mountains. His tracks created river beds and lakes. He created clouds and rain with which trees sprung up and life-forms originated. Tired, the Serpent curled up in a waterhole and went out of sight. The living creatures that drank from the waterhole were careful not to disturb him. Often, he arched up his back and traveled to another far off waterhole. People could see him in the sky as a magnificent rainbow.

The final part depicted a Japanese folklore. A woodcutter used to eke out a megre living cutting bamboos. One day, he found a beautiful girl inside a bamboo-stalk. He brought her home. Seeing her, his wife became very happy. The villagers were curious. News about her beauty spread, the Emperor came and asked for hand in marriage. Kaguya, the girl, reciprocated his love but her heart longed to go back to her home, the moon, where she could truly be herself – free and boundless. Just as mankind remains in constant struggle between wanting to be free and yet be bound to earthly attachments, so was the moon princess torn between two emotions – freedom and attachment. So, on a full moon night, Kaguya leaves for the moon leaving behind the heart-broken village.

The audience was mesmerized by the programme. When it ended and the team led by Daksha Mashruwala came back to the stage to take the final bow, each one in the large audtorium filled to capacity, gave them a standing ovation and an endless applause.

For me, it became an evening worth remembering and recalling for times to come.      

Here is a trailer of the show:

Here are some excepts from Odissi Dance presentations by Daksha Mashruwal:

Happy Independence Day - 2016

This Independence Day, let's watch this Award-winning Short Film.





The language of the writing on the wall in the background is Odia

Paan

Last week during my visit to a relative, i went around her beautifully manicured garden. Among the flowers with brilliant colours, i noticed a creeper with green heart-shaped leaves, luxuriously growing from a pot. It was the paan (betel) vine.

I requested her to give me a cutting and she immediately obliged. Back home, i cut the longish cutting into two pieces and planted in my garden, one in a pot and the other on the ground near a wall. Both the pieces responded to my love and care and started growing. Here they are:

Pot and pan

Climbing the wall

In India, the English word ‘betel’ for paan is generally not used; it is simply called ‘paan’. Many people love to have a paan leaf, or a half of it, stuffed with spices, after a meal. Paan is taken with zarda (a tobacco-preparation). Those who do not like the intoxicating taste of tobacco, take paan with spices like cardamom. Paan leaves are generally chewed in combination with slaked lime, flavoured areca nuts and other exotic stuff like aniseed, spices and, sometimes, other sweetening agents.  Often, the folded loose ends of paan are fixed with a clove. When tobacco-preparation is added, sweetening agents are not used. Catechu, a gum extracted from a kind of acacia trees (katha in Hindi, khaira in Odia) is also added to paan. Catechu makes the mouth and saliva red when paan with catechu is chewed. Paan without betel-nut and catechu is called 'bidia' paan in Odia. Such a paan is taken by persons who do not like lime.

Preparation of paan is an art. There are several ways in which paan can be folded. Paan can be rolled to become like a cone or can be folded to look like a triangle.

In rural India, paan is offered as a gesture of hospitality.  As paan- chewing makes the mouth red, in ancient India, it served the purpose of lipstick; many folk songs refer to red lips of young women.  

Paan leaves are considered as holy and are essential in many religious events in India. In Odisha, money offered to priests is placed on paan leaves.  Paan leaves are an essential part of marriage-rituals of Hindus. In West Bengal, the bride comes to the marriage pandal, covering her face with two large paan leaves. She removes them at the auspicious time for exchanging the first glance with the groom.

Paan is popular among many people in Odisha. Earlier, at the time of marriage, a paan bataa (small box with two layers and several small compartments to contain paan leaves, betel nuts, lime, khaira, various spices etc.) formed an essential part of the things given by the bride’s family. The box was usually made of brass and had several embellishments to make it attractive. It had a small handle at the top. People used to carry a batuaa  (a small handy cloth bag) with three or more compartments to contain various items for making paan and a betel-nut cracker. It could be closed by pulling the attached strings from the two sides. Some batuaas had colourful appliqué stitched on the sides. During modern times, it became fashionable to carry a modified version of batuaa to carry lip-stick, and other beauty-aids. Batuaa  was the earlier version of ladies’ purses.

Paan is the central object in a legend associated with the construction of the Konark temple. This temple was built by Langula Narasingha Dev, the then king of Kalinga (Odisha). Bishu Maharana was the chief sculptor. He used to work on the sculptures on the temple with full concentration and uninterruptedly. He had the habit of chewing paan endlessly. When one paan was finished, he needed another immediately. An attendant with paan used to stand behind him at all times. In order that Bishu would not have to interrupt his work even for a moment, he used to extend his palm back as soon as one paan was finished and the ever vigilant attendant would immediately place another paan on the sculptor’s palm.  The latter would put it into his mouth without taking off his eyes from the sculpture under carving. One day, it so happened that the assistant had moved away for a moment. Exactly at that time, the sculptor extended his palm for another paan. The King, who had come to personally satisfy himself about the progress and quality of the temple-construction, was passing by that spot at that time. When he saw Bishu’s extended palm, he took out one of his own paans and placed it on the sculptor’s palm. The latter immediately put it into his mouth. He felt that the flavor was different; it was more spicy and more fragrant. Surprised, the sculptor turned back. He was astounded at what he saw; the King and not the assistant, was standing behind him. He realized that the King himself had handed him one of his own paans! The attendant was not there. He bent down to touch the King’s feet but before that, the King embraced him and said, “I know about your love and need for paan; when I saw your extended palm and did not find your attendant, I gave you one of my paans so that your work should not be interrupted.”  The King’s paan had his own favourite flavor.    

Paan leaves are heart-shaped. Since love is a matter of the heart, it is graphically represented by a paan–shaped drawing with an arrow – arrow of Cupid.

Paan is an antiseptic that freshens breath and is also an ayurvedic medicine. It helps in digestion.

The term ‘chai-paan’ has a special connotation. Although literally it refers to hospitality by offering tea and paan to a visiting guest, it also means ‘speed-money’ to grease the palms of persons who have official power and authority to do something especially in government offices. ‘Chai-paan’, which is money several times the cost of a cup of tea and a paan, has sometimes to be given to move a file stuck in a Government office red tape or to grant a special favour, which may be legal or illegal.  

Paan Cultivation

TAIL PIECE:

I have seen some paan shops sport name-boards like ‘Beetle Shop’, ‘Bittle Shop’ etc.