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Sioux Falls SD,Instructor Shreelina Ghosh,510 NE 5th St Madison SD 57042. 517 881 5748,shreelinaghosh gmail com,MISSION STATEMENT. The mission of Alank r1 is to educate and prepare students in Odissi dance music theory. and performance Inherent in the training process is challenging students to choreographic. skills to think critically about Odissi movement and idiom and to imbibe the spiritual. significance of the artistic tradition, Graduates of the program will be knowledgeable in invocatory dance pure dance. expressional dance basic Odissi music foundational theory make up aharya and will be. prepared for a full scale Odissi recital Ranga Pravesh. PRACTICAL SYLLABUS, Exercises Torso Exercises Chowka steppings 10 Tribhangi. steppings 10 Mancha Pravesh Mangalacharan Ranga Puja. Level Two Vasant Pallavi Batu Nritya Vilas Megh Pallavi. Level Three Saveri Pallavi Mangalacharan Namameesha Moksha. Level Four Abhinaya Geeta Govinda Aravi Pallavi Dashavataar. Level Five Abhinaya Oriya Kirwani Pallavi Durga, Ranga Pravesh 2 hour solo recital subject to discretion of the instructor.
Senior Advanced training as per discretion of the instructor. The course syllabus of Alank r is based on the structured syllabuses of the. University of Pracheen Kala Kendra Chandigarh and Akhil Bharatiya Gandharva. Mahavidyalaya Mandal nationally recognized universities of performative arts in. India The duration of the basic course is 3 to 5 years which includes both practical. basic footwork fundamental dance movements introduction to some beginners. dance items as well as theoretical Abhinaya Darpana Taal system Oriya. literature components Students graduate and perform Ranga Pravesh. Though the syllabus mentions the Pallavis Abhinaya etc by name students may. learn other items as per the instructor s discretion. Changes to the syllabus may occur without prior notice The time frame of each level. will depend on the level of the student s, 1 Indian classical dances was born in the temples as a form of worship practices by devad sis meaning servants. of God The alank r devad sis were the highest order of devad sis They were carefully chosen and initiated at a. tender age Alongside a rigorous training in Gandharva Vidy knowldge of dance and music they learned all. the intricacies of makeup the art of decoration etiquette and spiritual scriptures. THEORY SYLLABUS,1 Knowledge of Indian mythogogies,2 Asamyuta and Samyuta Hastas. 3 Foot positions Adi Sama Viparitnukhi Kumbha Dhanu Prushta Dhanu Maha. 4 Names of classical dances of India and their concerned states. 5 Matra Laya Tali demonstration,1 Shirobheda Drishtibheda Greevabheda. 2 Foot positions Eka Meenapuchha Lolita Uttolita Ullolita Nupura Soochi Kunchita. Anukunchita,3 Odissi Musical instruments, 4 Temples Pata chitra Palm leaf paintings its relation with Odissi dance. Level Three,1 Bhramari Chali, 2 Bhangi Sama bhanga Abhanga Tribhanga Atibhanga and Chowka.
3 Foot positions Bilagna Parsni Tribhanga Swastika Mandala Chouka Ardha. 4 History of Odissi dance from its origin story to mahari gotipua and Odissi s revival. Level Four, 1 Abhinayas Angika Vachika Aharya Lasya and tandava. 2 Select Hasta viniyogas Deva hastas Bandhu hastas. 3 Rasas and Bhavas,4 Matra Laya Tala, 5 Foot positions Bandhani Utparni Ardha Swastika Rekha. 6 Ek Taali 4 Matras Rupak 6 Matras Trputa 7 matras Jhampa 10 Matras. 7 Identify and define the 3 types of dance presentation Nritta Nritya and Natya. 8 Study of Ashthapadi,Level Five, 1 Identify the following texts the author and list their significance to Odissi classical. dance Natya Shastra Abinaya Darpana Gita Govinda,2 Nayakas and Nayikas. 3 Khandis and Arasas Arasas in Odissi Talas Ektali 4 Matras and Rupak Tala 6. 4 Odissi tala and music system Musical accompaniments. 5 Demonstration of Rupaka 6 Matras Khemta 6 Matras Astatala 8 Matras. Jhampa 10 Matras Jatitala 14 Matras Adtali 14 Matras Aditala 16 Matras. 6 Demonstration of Stayee Ukuta Dharana Bani Ukuta Khandi Gadi Maana Jhula. Pohapata Padi,7 Odissi dance make up costume and significances.
1 Study of Sacred Space Guru and traditional mythologies. 2 Karana Angahara Rechaka Chari and Mandal,3 Knowledge of the Natyashastra. 4 Oriya poetic traditions and forms, 5 Concepts of choreography and professional dance production. 6 Artistic collaborations,7 Dance pedagogy,RULES AND REGULATIONS. 1 Annual Odissi sessions will be from April to November. 2 Punctuality and regularity to class must be maintained by students Punctual. attendance is expected in every class, 3 The timeless and age old tradition of Guru Shishya parampara will be valued in our. class Parents are requested to help students understand the concept both in context. of our class as well as in general, 4 Dance students must attend the class in salwar suit or t shirt and exercise pants.
Students must bring a dupatta or scarf to class, 5 All clothes jewelry and hair should be restrained so as not to interfere with. 6 Students must bring this course pack hardcopy a notebook and pen in class. 7 Practical examinations will be held in the first week of December. 8 Theory revisions will be conducted over January and February. 9 Theory exams will be conducted in the last week of February. 10 If student misses a class make up classes will not be provided However the. instructor might reschedule classes with prior notice. 11 If all students agree to re schedule a class that may be arranged with the instructor. 12 Students will be provided practice quality music for the compositions taught in. class Performance quality music can be purchased from the instructor for Ranga. Pravesh or other performances, 13 The prescribed textbook Mirror of Gestures or Abhinaya Darpana by Nandikesvara. will be provided by the instructor in pdf form, 14 All theory readings will be provided by instructors Students should study them. 15 Dancers will require to buy Odissi costume ornaments etc in order to participate in. troupe recitals or Ranga Pravesh, 16 Ranga Pravesh graduation may be arranged by students as per discretion of the. instructor Special instructions will be provided regarding the requirements. 17 Items taught at the advanced stage will be as per discretion of the instructor. 18 Without the permission of the instructor students are not allowed to accept any. engagements to appear in public either on amateur or professional stage or in any. program in classical Odissi dance till Ranga Pravesh graduation. 19 Students are advised to participate in an Annual Intensive Training Workshop. practical and theory by an eminent Odissi guru who will be invited by the. instructor This exposure will be an enriching experience for students There will be. extra expense for the workshops,WHAT IS ODISSI, Odissi traces its origins to the ritual dances performed in the temples of ancient northern.
India Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Odissi dance is marked by its graceful lilt as well as elegance Odissi is full of sclupturesque. poses known as Bhangis The technique includes repeated use of the tribhangi or thrice. deflected posture in which the body is bent in three places approximating the shape of a. helix This feminine pose is most approved with three bends in the body the first cause by. the crossing of the legs the second by a curvature at the waist and third by an inclination to. the head to one side generally to the left The most graceful feature of Odissi dance is the. soft circular movement of the hand head and torso depicting the roundness of the Konark. wheel or Sri Jagannath Deva s eyes The theme of Odissi dance is deeply rooted in. spiritualty, A typical Odissi repertoire consists of the following. Mangalacharan, In the Odissi style the Mangalacharan marks the entrance of the dancer onto stage The. dancer invokes the blessing of Lord Jagannath for an auspicious beginning to the. performance Then the dancer offers salutation to the Mother Earth Bhumi Pranam the. teacher the accompanists and the audience It is followed by a homage to a diety. Mangalachanaran essentially invokes the blessings of the revered God Guru and the. Batu Nritya is a pure dance offering in honor of Lord Batukeshwar Bhairava one of the 64. aspects of Lord Shiva This dance item is indicative with sculpturesque poses describing. such actions as the playing of the drum veena flute and cymbals. Pallavi is also pure dance and implies elaboration an exposition not only of the dance but. also of the music that accompanies it Like the blossoming of a flower the Pallavi gradually. unfolds the particular Raga upon which it is based thus a beautiful tapestry of rhythm. music and movement is created, Abhinaya is an expressional in nature a depiction of a bhava or deep emotion expressed in a. song or lyric In Odissi style this item is danced to the musical poetry of Jayadeva s. immensely lyrical Sanskrit love poem the Geeta Govinda of the 12th century AD The. Abhinaya item is sometimes danced to the accompaniment of Oriya lyrics composed by the. three venerated poets of Odisha Kavisurya Baladeva Rath Gopal Krishna Pattnaik. Banamali Das among others Set to a slow tempo the abhinaya provides ample scope to. the dancer for delineating an emotion through the expressive artifices of mime glances. hand gestures sinuous movements of the body and the myriad uses of facial expression. Mokshya means salvation or the ultimate release from the human life experience and the. blissful integration of the human soul with the Almighty Mokshya the final item of the. Odissi repertoire signifies the total surrender of the dancer to God. ABOUT SHREELINA, Shreelina Ghosh perfected the ancient art of Odissi dance under the strict supervision and. loving care of the eminent Odissi exponent Guru Aloka Kanungo for more than 25 years. She was initiated into the art by Guru Giridhari Nayak at the age of 4. Shreelina has learned the nuances of Odissi Classical Music from the eminent Guru Gopal. Chandra Panda and is a first class Visharad in both Odissi dance and Rabindra Sangeet She. earned her PhD in Rhetoric and Writing from Michigan State University and is currently. employed as Assistant Professor of Professional and Technical Communication at Dakota. State University, Shreelina has performed in most major festivals in India including Khajuraho Dance.
Festival Puri Beach Festival India Habitat Center Uday Shankar Dance Festival Surya. Festival Kerala Thalam Kerala Swaralaya Nrityotsav Kerala Kolkata Dooradarshan Utsav. She perform a number of times on the Indian National Television Dooradarshan and on. state channels, In USA she performed Arizona Texas Washington Illinois and in several cities in Michigan. She was invited to perform for Ragamala Seattle and in the Lincoln Center of Performing. Artrs NY She has collaborated with several artists in creative productions in Arizona. Michigan and South Dakota, As a choreographer Shreelina made a unique attempt to juxtapose the subtle nuances of. Buddhism and Hinduism through dance in Panamami Buddham Conceived written and. choreographed by the artist herself the project was sponsored by the Mahabodhi Society of. India and was performed on the holy of Bodh Gaya where Buddha attained bodhihood The. production brought her to attention of critics and media as an experimental choreographer. Her production Vayu Visions of the Wind was sponsored by Dakota State University College. of Arts Letters, Among other accolades for performance she received Star of Tomorrow Award from. West Bengal Dance Group Federation honorable mention at the Excellence in Diversity. Awards at Michigan State University for Artistic Expressions and felicitation from the. Thero at Mahabodi Society of India Bodh Gaya,ADMISSION FORM. STUDENT S NAME,BIRTHDATE MM DD YY,ACADEMIC STATUS,CONTACT NO RESI MOBILE.
EMERGENCY CONTACT Phone, Please list any ailments or special medical conditions past or present of which Alank r. should be aware,TRAINING PURSUED EARLIER If any,Name of Guru s Institution s. Form s of Dance,No of years of training in each form. Photo Video Release Photo Release I grant permission to Alank r to take photographs. or video of me my child for promotional purposed of the school including but not limited to. use in printed publications such as brochures and newsletters as well as website or other. electronic forms I understand that these images maybe edited duplicated and or. reformatted in any form and manner without payment of fees in perpetuity. Liability Release I am aware that dance training and the athletic exercises associated with. it place unusual stress on the body and carry the risk of physical injury On behalf of my. child and myself and if I am no longer a minor on my own behalf I assume the risk and. agree that Alank r shall not be liable in any way for injuries sustained during attendance at. the dance school or any of its related functions I understand that good Odissi training. involves touching and adjustment of the student s body by the instructor. The course syllabus of Alank r is based on the structured syllabuses of the University of Pracheen Kala Kendra Chandigarh and Odissi tala and music

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