Learning Tools in Odissi Dance Education

by Dr. Rohini Dandavate

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Debiprasad Sahoo

Rapidly advancing communication technologies and media formats have opened new avenues for teaching, learning and presenting dance. In traditional performing arts in India, Guru Shisya Parampara was the primary way of learning and teaching. However, increasing access to digital media has lead to emergence of hyperlearning, or education made possible by computer technology and hypermedia. Dance teachers and students use social media for marketing, and online tools for teaching and learning. Performers have also integrated digital media in dance presentations. This emerging trend is permeating all aspects of dance education and dance production. [Read more…]

Finding Lila: Tales of Odissi in the 21st Century

by Nisha Somasundaram 

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Debiprasad Sahoo

Not long ago I attended a seminar on the subject of astronomy and physics written in verse at the university I currently attend. The presenter spoke of how mathematicians of a bygone era in India aspired to write about physics in poetic form in a way that was as beautiful and sophisticated as the subject matter itself. In many ways, this is an idea that underpinned the creation of Finding Lila, a multi-media initiative and website dedicated to exploring Odissi from the viewpoint of UK-based practitioners: [Read more…]

Güngur’s Journey: Solace to the Soul

by Patricia Salgado

Photo Courtesy: Debiprasad Mishra

Photo Courtesy: Debiprasad Sahoo

My name is Patricia Salgado, I am an Argentinean born in the United States but settled in Barcelona, Spain for the last 14 years. I have been working as a fashion designer, designing clothes for different brands for over 15 years. Since early childhood, I have always been attracted to art, painting, and sculpture. I was also very interested in various disciplines rooted in Eastern cultures, thanks to the deep influence of my mother. I chose a career in design because it allowed me to express my creativity. But deep inside my soul, perhaps subconsciously, I was hoping to find my true vocation elsewhere. [Read more…]

The Dance of Creativity

by Merle O’Brien

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Debiprasad Sahoo

 

As the fields of art and science move to a common space in the 21st century, creativity is taking centrestage in all fields of human endeavor, driving a new form of economy and redefining itself from an art into a lifescience.

Working as a Futurist at the forefront of creativity, design and front end innovation – while also being an Odissi danseuse, training in one of the world’s oldest forms of codified creativity, I see that the future of creativity looks remarkably similar to its most ancient past. If this holds true, Odissi may find itself becoming increasingly relevant as an educational technology for neuro-muscular entrainment to unlock human creative potential.

[Read more…]

From Proscenium to the Public: Alternative Spaces in Performance

by Ashwini Raghupathy

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Ddebiprasad Sahoo

In April earlier this year, a video was uploaded on Youtube which created a furor that launched a barrage of discussions on social media which continue even today. The clip showed a dancer Aleksy Furdak, also known as Gaura Natraj Das, an American performing Bharatanatyam in a metro station in the USA. (http://www.southreport.com/classical-dance-in-new-york-subway/) ) This performance was not the first of its kind, as other dancers, including myself, have been exploring public spaces to present traditional Indian dances. Here you see another Bharatanatyam dancer, Jai Khalsa https://www.youtube.com/watch?v=eUBWtuxyiUQ, and here is a video featuring me which encapsulated a little of my work in this area : https://www.youtube.com/watch?v=_GCXHbycgd4)

While I personally have not spoken to the above-mentioned dancers, I have realised from my own experience that there will be detractors every time one challenges the status quo in any field. When I started to dance Odissi in the parks and streets of Bangalore. I received a fair share of criticism, some of which I have outlined here:

[Read more…]

Odissi: Exploring an Evolving Tradition

by Fatima Montero

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Debiprasad Sahoo

Whatever remains unmentioned should be included into practice by experts from an observation of people – NS XXXVI, 83.

To this ending of the treatise Manomohan Ghosh very appropriately comments in his edition: “this shows that the author of the Sastra did not like to see drama eternally tied to his prescriptions.”
We learn and we teach. That is essence of being human: we have the ability to share our knowledge with the next generation, which is how civilizations have been built. This system will collapse if we neglect it, but it will also collapse if we do not add to it. Dances are the expression through the movement of the body. Dance needs music, decoration, emotions and ideas to express, but ultimately dance is movement. We should know what the essence of our art form is, keeping this in mind before modifying it and before criticizing others for modifying it. What exactly does Odissi need to be considered Odissi? What are the indispensable elements in our dance form that distinguishes it from the others? The elements that we cannot take away? What is its real essence? The first and main focus on our list must be attributes of movement.

[Read more…]

Independent Spirit: My Journey as a Solo Artist

by Ayona Bhaduri

Photo Courtesy: Debiprasad Sahoo

Photo Courtesy: Debiprasad Sahoo

Every competent artist, with a thirst for knowledge and a will to rid her art of parochialism and complacency, goes through a very significant and inevitable transitory phase from collective participation to individual pursuit; in case of a dancer, from working within an ensemble to venturing out as a soloist. I think a lot of it has to do with the dancer’s intellect. Beyond the physicality of the dance, when the mind begins to yearn for the ‘tripti’ or total satisfaction brought about by complete synergy of the mind, body and soul over and above the immediate trivial concerns of movement technique, when the ‘utsah’ of a movement stems from the emotion driving it so much so that the body feels just right at the said moment, in perfect harmony with the mind, in response to the ‘bhava’ initiating the movement, that is when the dancer intuitively knows that it is time and that she is ready to start her individual pursuit, searching both within and outside herself, to find her own personal vision that would define her art. Because every work of art ultimately becomes a true reflection of the artist herself.

[Read more…]