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RUDRAKSHYA FOUNDATION PERFORMANCE PROGRAM

Odissi Vilas is delighted to present an evening of Odissi performances by an ensemble from the India-based Rudrakshya Foundation.

 

The founder and artistic director of Rudrakshya, Guru Shree Bichitrananda Swain,

has achieved worldwide recognition as an outstanding performer, brilliant choreographer, and an exceptional teacher. Widely acclaimed as one of today’s prominent choreographers of Odissi, he is known for his distinctive body of work that echoes his knowledge and understanding of dance as a medium of expression, and for having unleashed a wave of renewed dynamism in the presentation of Odissi.

 

Rudrakshya Foundation, which was founded in the year 2000, has emerged as one of the most successful training centers for aspiring dancers from India and abroad. Some of his students who lack the financial means to pursue dance as a profession are provided with free education, food, and lodging for as long as they wish to be in his gurukul-like institution.

 

Guru Swain and his students have performed in major cities across the world, including the US, UK, Canada, China, Brazil, Sri Lanka, Malaysia, South Korea, South Africa, Ivory Coast, and Nigeria. 

 

This evening, we will have the pleasure of viewing performances by four principal dancers from Rudrakshya Foundation, who along with Guruji, have been touring the US since last month.​ Additionally, Rudrakshya’s manager and mardala player Rohita Pradhan will be assisting with sound and lighting. 

​

1. Mangalacharan - Ram Charit Manas

The "Keki Kantha Neelam" is a verse from the Ram Charit Manas written by the revered Saint Tulsidas. This verse beautifully describes Lord Rama's complexion, likening it to the deep blue of a peacock’s throat or a sapphire (Neelam). It highlights his unparalleled skill in archery. The entire dance performance becomes a living tableau, with each pose and expression conveying the narrative. The piece unfolds various moments: the Swayamvara of Goddess Sita, the arrival of Lord Parashurama, and the grand welcome of Lord Rama. It also depicts Lord Hanuman carrying the entire mountain to fetch the Sanjeevani herb, and the triumphant return of Lord Rama and Goddess Sita to Ayodhya aboard the Pushpak Vimana.

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Dance Choreography: Padma Bibhushan Guru Sri Kelucharan Mohapatra

Music Composition: Pandit Raghunath Panigrahi

Dance Direction: Guru Sri Bichitrananda Swain

Raga: Megh & Kedar

Tala: Eka Tali

Dancers: Santosh Ram, Samir Kumar Panigrahi, Debashree Patnaik, Roji Swain

​

 

2. Pallavi - Ananda Bhairavi

The Pallavi in Raga Ananda Bhairavi is a vibrant and intricate composition of Odissi choreography, characterized by a diverse tempo and rhythm, harmoniously woven with a specific raga. The dance is marked by delicate footwork, elaborate movements, and an expressive melody. Rooted in the Nritta or pure dance form of Odissi, Pallavi refers to an elaborate exposition that showcases not only the dance but also the accompanying music. The graceful and lyrical movements of the dancers are intertwined with complex rhythmic patterns, creating a visual and auditory masterpiece of exceptional beauty. Much like the gentle blooming of a flower, the Pallavi gradually unfolds the essence of the raga upon which it is based, weaving together a stunning tapestry of rhythm, music, and movement. The dance passages move in perfect harmony with the rhythmic syllables and the melodious rendering of the raga.

 

Dance Choreography: Guru Sri Bichitrananda Swain

Music Composition: Guru Sri Ramahari Das

Rhythm Composition: Guru Sri Dhaneswar Swain

Raga: Ananda Bhairavi

Tala: Jati

Dancers: Santosh Ram, Samir Kumar Panigrahi

​

 

3. Odia Abhinaya - Shyama Chabi Chataka

 

This enchanting Abhinaya draws inspiration from an exquisite Odia poem by the renowned poet, Benudhara Raut. It vividly portrays the deep reverence and longing felt by two Sakhis as they become entirely absorbed in the thought of Krishna. Their imaginations, sparked by his divine presence, paint a vivid picture of him in their minds. One Sakhi, overcome with admiration, depicts Krishna's mesmerizing features—the allure of his eyes, the sweetness of his lips, and the untamed curls of his hair—while the other captures his essence on a canvas, giving life to the image of the divine.

As the narrative unfolds, the Sakhis marvel at how the soulful melody of Krishna’s flute enchants and hypnotizes both the gopis and married women, pulling their hearts into a divine trance.

In their musings, the Sakhis continue to weave a tale of Krishna's playful, eternal love. They speak of his moonlit smile that radiates serenity and warmth, and the irresistible charm of his every glance. They describe how a mere flick of his eyebrow can pierce their hearts like a sharpened sword, leaving an indelible mark on their souls. Through their words, they celebrate the profound beauty of Krishna’s love—a love that transcends time and space, ever-playful and boundless in its intensity.

 

Dance Choreography: Guru Sri Bichitrananda Swain

Music Composition: Guru Sri Ramahari Das

Rhythm Composition: Guru Sri Dhaneswar Swain

Raga: Jhinjhoti

Tala: Khemata

Dancers: Debashree Patnaik, Roji Swain

​

 

4. Pallavi - Hamsakalyani

The Pallavi in Raga Hamsakalyani is a vibrant and intricate composition of Odissi choreography, characterized by a diverse tempo and rhythm, harmoniously woven with a specific raga. The dance is marked by delicate footwork, elaborate movements, and an expressive melody. Rooted in the Nritta or pure dance form of Odissi, Pallavi refers to an elaborate exposition that showcases not only the dance but also the accompanying music. The graceful and lyrical movements of the dancers are intertwined with complex rhythmic patterns, creating a visual and auditory masterpiece of exceptional beauty. Much like the gentle blooming of a flower, the Pallavi gradually unfolds the essence of the raga upon which it is based, weaving together a stunning tapestry of rhythm, music, and movement. The dance passages move in perfect harmony with the rhythmic syllables and the melodious rendering of the raga.

 

Dance Choreography: Guru Sri Bichitrananda Swain

Music Composition: Guru Sri Ramahari Das

Rhythm Composition: Guru Sri Dhaneswar Swain

Raga: Hamsakalyani

Tala: Matha

Dancers: Santosh Ram, Samir Kumar Panigrahi, Debashree Patnaik, Roji Swain

​

 

5. Abhinaya – Ardhanariswar

In 21st century it is important in the world of Gender Biasness. The Ardhanariswara is India's first reference to gender equality or sensitivity. An ancient Sanskrit poet AdiSankaracharya speaks of Shiva in the form of half female and half male lord. One half represents Parvati the female principle the other half is Shiva the male principle. Parvati represents creation and Shiva represents disillusioned. Since no creation can take place without dissolution and no dissolution can take place without creation. Here Parvati and Shiva complement each other to maintain the never-ending cycle of creation and destruction and together they form one entity. She is fragrant with Champa flower, he is fragrant with Camphor. She has soft sensuous locks and he has unruly locks. She is adorned with the vermillion powder and he is adorned with the ashes from the funeral pyre. She has the smile of creation, he has the bold look of destruction. She is adorned with jewels and he with snakes. She wears beautiful clothes and he has the vast sky as his garment. She does the lasya dance and he does tandava. They are the universal father and universal mother.  This describes the cycle of creation and destruction co-exist side by side in the world.

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Dance Choreography: Padma Bibhushan Guru Sri Kelucharan Mohapatra

Music Composition: Pandit Raghunath Panigrahi

Rhythm Composition: Padma Bibhushan Guru Sri Kelucharan Mohapatra

Raga: Malika

Tala: Malika

Dancers: Santosh Ram, Samir Kumar Panigrahi

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6. Mokshya

Mokshya signifies salvation—the ultimate liberation from the cycle of human existence and the joyous union of the individual soul with the divine. In parallel to this profound concept, Mokshya, the concluding item of the Odissi repertoire, embodies the dancer's complete surrender to God. This sacred dance sequence, performed in a brisk tempo, is accompanied by the rhythmic recitation of syllables, played on the Mardala, the primary percussion instrument in Odissi. Following this, an invocation to Goddess Shakti is presented, praying for the universal well-being of humanity and the harmonious coexistence of all.

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Dance Choreography: Padma Bibhushan Guru Sri Kelucharan Mohapatra

Music Composition: Pandit Bhubaneswar Mishra

Raga: Bhairavi

Tala: Eka Tali

Dancers: Santosh Ram, Samir Kumar Panigrahi, Debashree Patnaik, Roji Swain

​

© 2019 Odissi Vilas Sacred Temple Dance | San Francisco, CA, U.S.A.

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