Dancer & Writer Madhur Gupta to perform Odissi Classical Dance on 2nd February, 2017 at India International Center, New Delhi
Tantu– ‘TANTU’ ~ A Solo Odissi Production by Dancer & Writer Madhur Guptais all set to thrill the city on Thursday 2nd February 2016 at Indian International Centre, New Delhi. The programme will kick off at 6:30 pm sharp and will continue till two hours. One can witness the delightful traditional dance choreographies from 1961-2016 on the auspicious evening. There is a free entry to all art loving audience. Padma Bhushan Raja & Radha Reddy will be the chief guest of the great evening.
Tantu is a unique dance show presenting the premier of choreographies by Gurus Sharon Lowen, Madhavi Mudgal and the performer of the evening, Madhur Gupta, framed by classics by the major architect of Odissi, Padmavibhusan Kelucharan Mohapatra. ~Tantu, literally translating to meaning a ‘Thread’, is truly about connecting tradition in a single string! ~
Dancer & Writer Madhur Gupta, with great enthusiasm and eagerness is looking forward to the D-Day, he said, “Tantu is coming together of 3 generations of artistic sensibilities. It is a unique concept presenting the premier of choreographies by Guru Sharon Lowen, Guru Madhavi Mudgal & myself, framed by classics by the major architect of Odissi, Padmavibhusan Kelucharan Mohapatra. Tantu, also has the distinction that two of Guru Kelucharan Mohapatra’s prime disciples (Madhavi Mudgal & Sharon Lowen) have created new work especially for their disciple (Madhur).â€
“Approaches towards Odissi might differ with generations, but the traditional parameters are deeply rooted in us. Thus, this production shall explore the challenges of not only showcasing the traditional in a contemporary vision but also carrying forward the baton of Odissi by the new generation.†Madhur added.
TANTU: Choreography Descriptions
Manikya Veena (Mangalacharan), Choreography (1965) – Guru Kelucharan Mohapatra
The dancer enters the stage and offers a traditional invocation to Mother Earth for her support followed by a song in praise of the Goddess of Learning and Music, Saraswati in her form as Matanga. Holding a bejeweled Veena, four armed, the moon in her hair, lotus eyed, bearing weapons, with the graceful gait of the elephant. This song is followed by the threefold salutation to God, the Teacher and the distinguished audience.
Rajanigandha (Pallavi) Choreography (2016) – Madhur Gupta
Pallavi is a lyrical elaboration of rhythmic, melodic and movement themes. It is considered the most graceful and lyrical form of “pure” or abstract dance in the Odissi repertoire. Like the tender shoots of a tree sprouting and branching, the movement theme is elaborated with rhythmic and melodic variations. Rajanigandha literally means one that is ‘fragrant at night’. Akin to the sweet smelling flower which blossoms at night and spreads its intoxicating smell slowly, this Pallavi set in a night time raga Odiya Kedar opens up with gradual movements, developing and steadily overpowering the senses with intricate patterns created in music and space.
Jhagadi Matra Hela He Shyam (Oriya Abhinaya) Choreography (2016) – Guru Sharon Lowen
This choreography belonging to the genre which is created from a typical and unusual form of words, which is partly prosaic and partly poetic is known as Champu. In the Odia Champu composition, a song is written for every letter of the alphabet, and every stanza in the song starts with the same letter of the alphabet. This particular piece starts its every line with the letter ‘Jha’, hence also is known as ‘Jha Champu’. In this Lalitha, Radha’s sahki, catches Krishna taking a glimpse of Radha and getting devastated with the thoughts of not being able to be with his beloved.
Kumara Sambhavam (Sanskrit Abhinaya) Choreography (1992) – Guru Sharon Lowen
The wedding night and morning of Lord Shiva, God of Dissolution and his consort, Parvati, is described in the 2000 year old epic by the great Sanskrit poet/dramatist Kalidas. Shiva reclines as Parvati glances at him with curiosity and mischief. He slowly opens his eyes as she is dazzled as though by lightning. Covering Shiva’s eyes with her hands in shyness, Parvati sees his third eye open and is bewildered by the futility of effort to hide her shyness. Next morning, in Parvati’s concern that her friends will arrive and tease her about the telltale signs of love, she checks herself in her mirror. Shiva is reflected and she cannot answer his questions in shyness.
Yahi Madhava (Ashtapadi) Choreography (1961) – Guru Kelucharan Mohapatra
In this Ashtapadi, Radha is waiting for her beloved, Lord Krishna. Having waited all night, she reproaches him when he arrives at dawn after a night’s dalliance, pleading forgiveness. Your drowsy red eyes from being awake all night betray the intensity of passion you cherish for that other woman. Go Madhava! Go Keshava! Do not deceive me with your artful words. Go after her, O lotus-eyed one, she who soothes your grief. Your crimson lips are now dark like your body from kissing her made-up eyes. Like a proclamation of passion’s triumph in gold letters on emerald is your dark body scratched in love’s battle. Your heart must be as defiled as your body.
Shantam (Mokshya) Choreography (2016) – Guru Madhavi Mudgal
This dance leads the performer as well as the beholder towards Moksha, spiritual and intellectual release from the cycle of rebirth and union with the supreme. The traditional culmination of an Odissi performance, this vibrant dance concludes with a shanti mantra Prthivii Shaantir-Aapah Shaantir-Ossadhayah Shaantih |Vanaspatayah Shaantir-Vishve-Devaah Shaantir-Brahma Shaantih Sarvam Shaantih Shaantireva Shaantih Saa Maa Shaantir-Edhi |Om Shaantih Shaantih Shaantih ||
