Co-ordinated Deodhani workshop/ July 2010/ Tezpur

Co-ordinated Deodhani workshop:

Introduction: In the limelight of classical era and competence of performance, there are many curiosity surround us. Why I was interested to organise a workshop on Deodhani is centered to the queries arisen mainly from my research field. The workshop on Deodhani Dance was an first attempt to approach it as a form. And KKIPA became my supporter at hand to organise and hence possibly I was succeeded to co-ordinate the workshop. 

 participant observation

KKIPA is a non-profit and non-governmental cultural organisation encourages and promotes Indian classical Dance or allied arts forms. It has been organising summer workshop on Odissi Dance, a classical dance form of India and other different arts each year since last 2002. Mrs. Madhurima Goswami, the director of KKIPA herself is an Odissi exponent and researcher contributed to many art projects towards the rich culture of Assam.

Dance is an important part of ritual activity in Indian life. The importance aspects of any dance studies may include-

•    Movement tradition.
•  Movement content.
• Its place in human life.

Due to academic research, the form, Deodhani Dance has arisen many queries stroked into my mind. After sufficient witness of the dance in different contexts, there arises a question -Do the movements have a specific content or does it evaluate special formal training?I can state that a dichotomy line can be traced out in between the practised ritual and popular art form of the dance. The dance to be conducted in the workshop was meant for a noble intention towards cultural enrichment.And consequently, Drona Bhuyan Oja whom has been recommended as a teacher (guru) of Deodhani Dance by repute cultural Organisation Sankardev Kalakshetra, Assam was invited to train in the workshop.

It is noteworthy to mention here that the ritual is transported from place of altar to stage by Lalit Nath Oja who went through a no. of cultural tour for many years popularised the dance in a national level.

The Background of the Dance: The division of dance was made in Sangeet Ratnakara (13^th century) as Desi and Margi. Deodhani may categorise under Desi Nritya as it has regional taste. It has an close association with rurals of Assam and there is no formal trainings. This is a religious rite among the śhakti believers of the region. And also observed a  close association with goddesses like Manasā (serpent goddess) and Durgā. Padmā-Purān a mythological script in Assamese by Sukavi Narayandev the singing tradition Suknnāni Ojā-pāli is attributed. The entire performing choir has different variation in Assam such as Manasā geet, Māre gān, Bisahari gān etc.

Prior to the workshop: I came to know about a traditional bearer of Ojā-pāli  performance named Drona Oja of a locality Sipajhar during my field visit on Deodhani ritual (2008). He is a person of organising and participating in many cultural performances to uplift the Deodhani dance form. Mr. Nath himself is a traditional practisoner of Ojā-pāli  from his lastest seventh generation. Now he teaches his learning to his son and daughter. I came to know about his interest to conduct workshops on Deodhani as a Dance form. I took his words to help me out in future and that is how a seven days Deodhani Dance workshop has planned.

The workshop: The Deodhani workshop was trained by the traditional bearer instructing in Assamese language. There was introduced a brief description about dance and started teaching different pieces/slats  of it. Within the 7 days (7^th-13^th july) the participants were able to learn three pieces of the dance. The workshop was conducted in a local music school. The syllables and rhythm were archived personally. A hall was booked in the centre of the place where an half an hour presentation was also carried on last day. The presentation day was inaugurated by the chief guest Sunil Kumar Dutta, Prof. of Tezpur Central University. The audience were mainly the guardian of the participants, art lovers and different society such as Tezpur Darangi Kala Kristi organisation, Tezpur Art society. The dance was performed in full costume with accompany of singing, drum beats and cymbals playing. The participants were encouraged for their participation by giving them a packet containing participation certificate and an hand out of the Deodhani Dance in Assamese language. The packet was distributed by the invited chief guest.

participators at practising

Estimation: There were estimated 20 participants of mixed up aged from 3-30 years old including dance teacher, students and researchers. There was no national as well as local grant to support the workshop. The fooding and lodging of the invited trainer was supported by Srimati Nilima Baruah, one of the members of KKIPA. The entire refreshments during practice hours and presentation, the certificates cost, felicitations, remuneration/remberishments were estimated, decided and arranged by the KKIPA itself.

Expectation: Being an integral member cum student I had achieved a great support from KKIPA and its entire team. The conflated taste of dance with its original essence is highly expected in its performance. Moreover it was a great opportunity to work with and know how a traditional bearer-his training style and future plan on the form. The locality of Tezpur  is not familiar to the performance narrative of Shakti cult, it was my utmost effort to disseminate a step ahead this linguistically varied performance in Tezpur. Ambition is also to cope up the vigoriousity of the dance so that it can be used in frontier of modern theatrical act or other allied creative genre. As in the beginning I have mentioned to summarise a dance form as movement tradition, content and its value in human life here also it was collected the rhythmic syllable  and textualise and interviewed the artist. Many inward  and symbolic meaning of movements came into view which can be resembles into a social livlihood. My participant observation helped me out to know about the clue and co-ordination of movement sequences.

A formal outcome or the scheduled presentation: The outcome was a presentation of half an hour with the help of singing, playing Bortal (cymbals) and Joydhol (traditional drum). The dancers were in complete attire and make-up. The dances were performed with 

A tradition of stage decoration (on Presentation day)by the student

the help of prop for instance, dhal taruwal (sword and shield) and dulani (basketry with paddy and lighted earthen lamp). Before going in to performance, the dancers were enlightened with a traditional way of blessings from the guru and they offer present to him in exchange. However, a part of students performed Oddisi as instructed by Mrs. Goswami. Later the rest of the  young girls performed Deodhani. All the participators have been taught both Oddisi and Deodhani.

The teacher and his assistant were remunerated and falicitated by the organiser KKIPA and vote of thanks was delivered to all the supporters, parents who were present there. I am sure that the dancers had a great feelings and rejoice performing a total.

workshop

The teacher is instructing during practise

At practise

Inauguration by the Chief Guest

Inauguration by the Chief Guest

Inaugural day

 Deodhani Dance performance  with open hair

We are thankful to our invited chief guest, all our guardians, participants, Jyotikala Kendra, gathered society, Media-DY365, press and last but not the least Ram ji.