Rudrakshya Foundation Guru Bichitrananda Swain & Group Bhubaneswar R udrakshya Foundation is one of the leading Odissi dance institution...
Rudrakshya Foundation Guru Bichitrananda Swain & Group
Bhubaneswar
Rudrakshya Foundation is one of the leading Odissi dance institutions in a new generation of world-class organizations catering to international audiences, while at the same time holding firm to the values and traditions contributed by the founding fathers of Odissi Dance. Established in the year 2000, Rudrakshysa Foundations has been growing steadily, with performance abroad and throughout India, as well as on-going classes providing intensive training to serious dance students coming from all over the world. The institution is grown under the guidance and supervision of Guru Bichitrananda Swain, its founder-director.
MANGALACHARAN
Mangalacharan: Bhaje Brajeika Mandnam: This Mangalacharan begins as an invocation and prayer to the Hindu Lord Krishna. Through the ages, Lord Krishna has been the symbol of love, eternally bound to Radha. He has always been present to destroy evil and to instill good. This sloka depicts the embellishment of Brajapur with their Krishna. Upon his banishment of evil, Brajapur is utterly ecstatic.
This is followed by Chandrika Kamodi Pallavi: Pallavi is an item of pure dance pr nrrita that normally based on a rage or melody, with movements of lyrical grace that are soft, lilting and melodious. Beautiful dance passages unfold with rhythmic syllables sung musically in symphony. SAMUDITA MADANE: This excerpt from Jaydev’s Geet Govinda is based on the eternal love and romance of Lord Krishna with Chandrabali on the banks of Yamuna, which irritates Radha, who waits for Krishna. She then becomes disappointed imagining that Krishna must be intimately involved with Chandrabali. TALA MADHURYA: Talamadhurya is a composition of pure dance withsculpturesque poses, intricate footwork and composite body movements. But the focal point of this pure and abstract dance without thematic content is the “Purush Ang” that imbibes male stylization in to Odissi form.
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