Event: 47th Nupur Beje Jai: 'Radharani'r Oshto Prohor', Classical Dances
Place: ছায়ানট সংস্কৄতি - ভবন (Chhayanaut Cultural - Center)
Date & Time : Wednesday, at 6:30 PM
This event is open to all.
1st Episode: RADHARANI'R OSHTO PROHOR
2nd Episode: Kathak & Manipuri
3rd Episode: 'Bichitrita', based on Tagore songs of various genres. গ্রন্থনা- শ্রী অসীমবন্ধু ভট্টাচার্য।
নৃত্য পরিচালনায়- ইমরান হাসান ও মনোমি অর্থী
1st Episode:
'Radharanir Oshto Prohor' is based on Bangla Vaisnava Padavali kirtans sung during the Nata-palas of the Manipuris of Bangladesh, 'Radharani'r Oshto Prohor' exemplifies the tradition of expressing devotion or 'bhakti' through continuous chanting and performance of devotional songs and dances. 'Prohor', 'prahar' in sanskrit, is a unit of time. Each day is made of eight 'prahars'. Among the diverse types of Sankirtan ceremonies, the Nata-Pala is the most complex, involving male drum and cymbal dancers. The Nata-Pala is performed throughout the year at important festivals and at significant “rites-of-passage” in an individual’s life. It also serves as a common prologue to the performance of the Rasa-Lila. The 'nata-pala' of Manipuris of Bangladesh is sung in Bangla. This particular 'nata-pala' depicts Sri Radha's unremitting devotion towards her divine Lord, Krishna.
This production came out of Sweety Das Chowdhury's work within Shadhona's 'Dhrumel' project to teach Manipuri Dance and Pung to the Manipuris of Bangladesh. Sweety is a disciple of Smt. Kalavati Devi, wife of Guru Bipin Singh. She is presently based in Bangladesh for marital reasons. The songs are sung by 'rash-dhari' artistes of the Manipuri community in Bangladesh.
THE PRODUCTION
"Ajanu-lambita-bhujau kanakavadatau
sankirtanaika-pitarau kamalayataksau
visvambharau dvija-varau yuga-dharma-palau
vande jagat priya-karau karunavatarau"
(Nityananda Charitamrita Mangalacharana)
I offer my respectful obeisances unto Shri Gauranga Mahaprabhu and Shri Nityananda Prabhu, whose long arms extend to Their knees. They have splendid golden complexions, and They inaugurated the congregational chanting of the holy names of the Lord. Their eyes resemble the petals of lotus flowers. They are the maintainers of all the worlds, the best of the brahmanas, the protectors of the religious principles for this age. They bring happiness to the people of the world and are the most merciful of all incarnations.
Nishant (Day Break) 1st prahar (Raga: Bilawal):
"Nana cholonai bala surjo proname jai, bhabe pai jodi krishno shyamo kaya"
Taking recourse to many ruses Radhika goes out for 'surya pranam' hoping for a vision of the divine god Krishna. She is, however, denied the pleasure.
Prataha (Early Morning) 2nd prahar (Raga: Bhairav):
"Chorone nupur, modhuro modhuro, oi ranga chorone baje'
After completing her 'sringara', with her anklets ringing merrily on her divine ankles, Radhika goes on her secret rendevous in search of Krishna. On her way bountiful flora and fauna of nature greet her. The playfully mating animals, once again arouse 'kama rasa' within Sri Radhika.
Purvahna (Forenoon) 3rd prahar (Raga: Bihag):
'Modhuro, modhuro, modhuro, dha kiti dha, dhere kete dha, dhum kete dha, bhalo baaje go shokhi'
And merrily does Radharani, with her sakhis, or companions, embark on an abhisar or rendevous with her Lord, 'dha kiti dha, dhumkete dha, dhere kete dha'
Madhyahna (Noon) 4th prahar (Raga: Brindavani Sarang):
"Radhar ki hoillo antore betha, boshiya birole, thakoye ekole na shune kaharo kotha"
Radha is full of 'viraha', or sweet pain of unanswered love, for the elusive Krishna, and is full of 'abhimana', or lovelorn-ness, but as she contemplates on him, soon this turns into 'anurag' or affection.
Aparahna (Afternoon) 5th prahar:
The young 'gopa balaka', or cowherds, dressed in 'pitambara', or yellow clothes, and colorful sticks go on the 'goshto', cowpen, way. Radhika, in the meantime, while watching the young cowherds visualizes Krishna and pines for him and imagines herself playing with the divine cowherd.
Sayahna (Eventide) 6th prahar
"Aporupo radha madhobo rango, durjoyi malini man gello bhango"
The elusive Madhava finally appears in Radha's dreams and she realizes that she is merely his devotee and he her Lord. As, Radha surrenders to Krishna, he appears in all his majesty.
Pradosha (Evening) 7th prahar:
"Brajo moni gon heri horoshito mon nagoro notoboro raas nortono"
Dusk is, finally, witness to the union between the divine pair of Radha and Krishna in all the glory of the 'Ras-lila', the Dance of Divine Love.
Nishi (Night) 8th prahar:
"Mongolo mukhe shobe mile bolo joi hok Sri Krishno Sri Radha"
The final act of the 'nata-pala' expresses the realization of unity between the devotee and the divine, representing the Atma and the Paramatma.
CAST & CREDIT
Conceptualization & Dance Direction: Sweety Das Chowdhury
Artistic Direction: Lubna Marium
Produced by: Shadhona - A Center for Advancement of Southasian Culture
Radha: Jumname Kiron Singha
Recitation: Manos Talukder,
Pung (Percussion) - Thingom Brojen Kumar Singha, Angousana Singha, Babu Chan Singha
Dancers: Priungka Basak Shuvra, Zuairiyah Mouli, Aparna Nishi, Priyanka Saha, Anandita Khan, Md. Hanif, Bishal Singha, Arnab Sharma
Light design: Reazuddin Mahmud, Md. Shahabuddin
Music: Suman Sarker, Nirjher Chowdhury, Rokon Emon
Vocals: Gaurhori Chatterjee, Suniti Debi, Nirjher Chowdhury
Padavali Kirtans collected from 'Rashdhari' Krishnakumari Debi; Narration from Sri Sri Padaratnavali
Coordination: Amit Chowdhury
2nd Episode:
Manipuri dance by Manomi Orthy
- Goshthe biday jachon
- Kundukhel
Kathak by Imran Hasan Ishtiaque
- Tarana
3rd Episode:
" BICHITTRITA " Based on Tagore's songs.
গ্রন্থনা- শ্রী অসীমবন্ধু ভট্টাচার্য।
নৃত্য পরিচালনায়- ইমরান হাসান ও মনোমি অর্থী
ABOUT SHADHONA
Shadhona is a Center for Advancement of Southasian Culture. Though Shadhona’s scope of work encompasses many genres of art and the target group is diverse, the defining character of the organization is the hard-core, intensive work that done with the arts and artistes, in the areas of: a)research, documentation, b) training and c) production and presentation. Shadhona's work encompasses both the urban and indigenous arts.