[ad_1]
In the course of the pandemic, when stay performances got here to a halt, Mahagami, the Aurangabad-based dance gurukul, reimagined methods to maintain learners and artistes engaged. Together with organising on-line webinars and workshops, it additionally created new choreographies. A few of these works had been staged on the thirteenth Sharngadeva Samaroh held lately on the gurukul.
Buddhist mandala chanting by the monks of Drepung Gomang Monastery, as a part of the thirteenth thirteenth Sharngadeva Samaroh.
| Picture Credit score: Particular Association
The competition, which opened with the calming Buddhist mandala chanting by the monks of Drepung Gomang Monastery in Karnataka, and concluded with a soulful dhrupad live performance by Pt. Nirmalya De, who offered an in depth alap, and the dhruvapada, ‘Pratham sur saadhe…’ in Rageshri as a sadra set to Jhaptaal and a Drut Sool taal bandish in Adana. He was accompanied on the pakhawaj by Pratap Awad and on the tanpura by Veronic.
Dhrupad live performance by Pt. Nirmalya De on the thirteenth Sharngadev Samaroh 2022.
| Picture Credit score: Particular Association
The Odissi dance presentation ‘Arpan’ by the Mahagami ensemble had 4 segments. The music and choreography was by the versatile Parwati Dutta, the founding father of the gurukul. It started with Shiva-stuti, ‘Veda-Sara-Shivastotram’ composed in raag Vibhas, together with ‘Amurta Akshara Thayee’ comprising summary syllables and ‘Shabda-Swara-Paat’, innovatively incorporating the Sanskrit shloka recited within the metre of Misra Jati Chhand of seven beats.
The Odissi dance presentation ‘Arpan’ by the Mahagami ensemble on the thirteenth Sharngadev Samaroh.
| Picture Credit score: Particular Association
The second piece was ‘Mudita’ based mostly on Bauddha Darshan (Buddhist philosophy). Within the Buddhist custom, in accordance with the second century Mahaprajna-Paramita Shastra, mudita refers to one of many 4 immeasurables (apramana) — maitri (loving-kindness), karuna (compassion), mudita (pleasure), and upeksha (equanimity).
Mudita is historically considered probably the most troublesome to domesticate as a result of it celebrates happiness and achievement in others even when we face tragedy ourselves.
The idea of mudita turned crystal clear when Parwati shared her personal expertise and ideas in regards to the manufacturing. “The sudden pause in our lives in the course of the lockdown pressured us to adapt to new challenges. The colourful inventive area abruptly turned devoid of the collective resonance of ghunghroos and laughter. Whereas initially, the stillness introduced some constructive artistic stimulation, the frequent sirens of ambulances from the close by hospital despatched chills up my backbone. Life appeared to maneuver in the direction of uncertainty. The concept of pleasure appeared like a distant notion. It led me to re-look at mudita,” says Parwati.
The piece was based mostly on raag Madhamad Sarang, which flourished like a pallavi within the feelings of selflessness and compassion.
The third piece ‘Pratibimba’ was based mostly on the ‘darpani’ pose, which is without doubt one of the most essential bhangis of Odissi. This sculpturesque posture could be seen on temple partitions with the Shalabhanjikas holding the mirror. The choreographer displays on what the lady is taking a look at. Is she merely admiring her personal magnificence or inspecting the join between the bodily and interior magnificence.
The pallavi in raag Jog set to Ashta taal explored the totally different connotations of the darpan (mirror) and the pratibimb (reflection).
The concluding piece was based mostly on ‘Om mani padme hum’, the six-syllabled Sanskrit mantra, significantly related to Avalokiteshwara (the Bodhisattva of compassion), and a main mantra of Tibetan Buddhism, the place the lotus signifies purity and non secular fruition and thus, awakening. Mani Padme is preceded by ‘Om’ and adopted with ‘Hum’, each syllables broadly often called divine sounds.
Lingering resonance
The soundscape for this piece was designed aesthetically by Parwati.
It opened with the lingering resonance of the Tibetan metallic bowl, mixing the deep low-pitch chanting of the monks and the kharaj-sadhana within the dhrupad custom. A low-tone mardal and ukkuta (mnemonic) recitation offered a musical base for the dance, which was choreographed by Parwati, and during which she maintained the sacred geometry of Odissi, whereas observing minimalism in actions.
The dancers Vaibhavi Pathak, Aishwarya, Bhargavi, and Sheetal Bhamre did their guru proud with their efficiency. “The motion vocabulary is impressed by the Thangka and Ajanta work,” stated Parwati.
The Delhi-based writer writes on classical arts.
[ad_2]
Supply hyperlink