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TOTTR 3 ^cR R|TT TO#T HTH # TO/H TRJTg: 3#; TO#R WTO TFT tl Dance in India has a rich and vital tradition dating back to ancient
f#TOH HT# #t TgRlf, fiHd##', #RFTf#H R#T, TOT#' #t TOT-TOTO times. Excavations, inscriptions, chronicles, genealogies of kings
and artists, literary sources, sculpture and painting of different
RRT HHIHkT, TTTi%#RTO TO#, ^#Hdl 3#[ fRRHHT # TOTRH TOTTR
periods provide extensive evidence on dance. Myths and legends
totrrr #4 ti ##toh hr# 3# #hr# # to f#RR to ttto#t
also support the view that dance had a significant place in the
TO# t fro TOT## TOTRT % to4 TORT TTTOHT TO ^J?R t TO/H TOFRPJ#
religious and social life of the Indian people. However, it is not easy
TOTH HTORT RTI TO#H 3TO TOfffHR ‘HR#R’ TO# TO ‘hHT’ # TOT #
to trace the precise history and evolution of the various dances
hRPcici frofrotr ^#r % #hrt 3# #f#RR #rfrt # #roTfHR toht
known as the ’art’ or 'classical1 forms popular today.
3TRTR TO# tl
In literature, the first references come from the Vedas where dance
T#%cR t RFHT T#^ ## # fTOHRT t, HFT#RR R TOFftrf TO TO(TOTO tl ^JcR
and music have their roots. A more consistent history of dance can
TO TO/H WTRT TT#fTOT #RFRT TOFTHH#', 3#H 'JTO, Hf#R TTTf#R TOT
be reconstructed from the epics, the several puranas and the rich
TOR# TO TETH H#, # TR^TR #' TOTTO 3# TOTTOH % TO # H# Hit
body of dramatic and poetic literature known as the nataka and
t, # ^PfWd fTOTO TO TTHRT tl HTT#R TTTOfnT TORH (TOTOT) TO fRHTTO the kavya in Sanskrit. A related development was the evolution
to# ##R Irhrt t, # y^Rd toto, ^gro# #r 3r#r, ##fi1tth r#to, of classical Sanskrit drama which was an amalgam of the spoken
#T# RRT ^d#R JlPdRlRr TO TORT TOfTOTOT tl TOT' 12# TT# # 19# word, gestures and mime, choreography, stylised movement
TT# RH 3#R7 TO#HH TOT t, f#t TOFTtcTTcHTO #H TO T##-TORH HFT and music. From the 12th century to the 19th century there were
toto ti t##teth ##' #' # toPth rtr#r gro-TOt to tot ftotti many regional forms called the musical play or sangeet-nataka.
Contemporary classical dance forms are known to have evolved
TfRlf # # #rfro' TOTH t 3TTf-gro #TH#k# TOTH # TO# #t
out of these musical plays.
#R ^TRT FTOTO TOTH (2500-1500 #TT gP) TO TO=E TOR fTO RFI TO
Excavations have brought to light a bronze statuette from
##' gro gro# #t tjrh ti tot # totort stt^Pt # snr^r # tot P
Mohenjodaro and a broken torso from Harappa (dating back to
# RFRTTOT TO, f#P 3TTTO R# TO ^TR TO# |TIT f#R % TOT P RFRTTOT
2500-1500 B.C.E.) These are suggestive of dance poses. The
TORT tl ¥P TOTR#TO TO TOHR-RTRR RTR#R ^HT TO RT#TO TOR # TOT P
latter has been identified as the precursor of the Nataraja pose
TOTHTO t, # TOTO, gHT 3Tp TOT# Ht TOHT #t T#R gTOTO tl 3TTTOTR
commonly identified with dancing Siva.
TO TO T#TOK fHRT TORT t f# ^TOp TT# #1^4 - ^p R# #T# Tip
The earliest treatise on dance available to us is Bharat Muni's
TOT TO# TO TOTO tl TOP HTTOT #t TO# # # TOT P # TORT HTcTT tl
Natya Shastra, the source book of the art of drama, dance and
cPsTTO # 3TJTOT TO# TOT Pp TO f#TOTT di#<T P HTO, TOTT# P PP#,
music. It is generally accepted that the date of the work is between
TOg# P TpT# 3# 3T?## P HTO #TO #TOT tl TOT' PH TOTTOTT #
t P t tl the 2nd century B.C.E. — 2nd century C.E. The Natya Shastra
f# TOTOR TOTT TTOf HTOT # fHTH fTOTP 36,000 TOT#
is also known as the fifth veda. According to the author, he has
P P PP#
TOTOHTTO TJpTOS: HTTO# TOTORT #t P# pTO 3# TOH # evolved this veda by taking words from the Rig veda, music from
3THTOT# TOT t'l TOR #t HHT P TOT# TT# PpHH 3T# #t THT HHT the Sama veda, gestures from the Yajur veda and emotions from
t 3fR HHTHR TO# #H TTRT TOTH t#T tl TOgdH# TOR ##' HT# the Atharva veda. There is also a legend that Brahma himself
# PrP#T HTRT tl TORR # TOR-TOR H#H pcR 3H# 3TR TOTOT P wrote the Natya veda, which has over 36000 verses.
3THR # RRT 3TR TO#R TTRT f#HR HHT # TOT P yRlRdd g3TTI In terms of the classical tradition formulated in the Natya Shastra,
tor# #R-tpR# # srgror pro P P# to^3P to Ptor t#RT tort dance and music are an inextricable part of drama. The art of
natya carries in it all these constituents and the actor is himself
t - dl3R, ;JTR 3# pRI RRR P RRRpR RTO TO TTHTRT TOHT TORT tl
the dancer and the singer, the performer combined all the three
HRHHt gHT-RRH TOT # 3T#f#R 3TTH 3pRHTH pHT-TOp P W TOe^
functions. With the passage of time, however, dance weaned itself
tot totor P hr htrt tort ti pro ##th 3PPto#r t PR rf fro#
away from natya and attained the status of an independent and
"TOT P gH f#?R RT f#RR HT TpRRTTOT H# # Riy, TO^R fHRT TORT
specialised art, marking the beginning of the 'art' dance in India.
ti gn g# tor P ^«s pro t, tor hPt rP r##rrt r # fHPt tor
As per the ancient treatises, dance is considered as having three
HT R#T H#t t, Pfc R # P fH# 3?P Ht R#Rp# H#t tl pHT 3pT
aspects : natya, nritya and nritta. Natya highlights the dramatic
RRR Hi RTORHfP TOT P TOpR H# # IdO, PH RpRp Hi RRT# HT
element and most dance forms do not give emphasis to this aspect
pRR H# P R#H t#T TOftpi RP RRTRT t -pRR, TORT, HTOTT, #T,
today with the exception of dance-drama forms like Kathakali. Nritya
Pp, TOR, #TORR, 31^^ 3# RT#I
is essentially expressional, performed specifically to convey the
TT# #H# pRT TOR# RTO#RRT - RIHR 3# HRR HT 3TpHTOT fHRT meaning of a theme or idea. Nritta on the other hand, is pure dance
TORT t R#R pRRpRR, #Pf#T, #TO#T P# 3T#R# tl HRR T##f#T, where body movements do not express any mood (bhava), nor do
hPth hrtrth 3# pro ti 3Ptotr ht froRp# srP sprorof# ti Rf they convey any meaning. To present nritya and natya effectively,
Riffe, mk fe fet; Rrifer, w fe rtrr; Rfe, fer^ fe a dancer should be trained to communicate the navarasas. These
3TcT^tr; fe Riffe, rtr)' fe RfRfeRfe kr sttt y^iRd fen rttrt are : love (shringar), mirth (hasya), compassion (karuna), valour
ii (veer), anger (raudra), fear (bhaya), disgust (bibhatsa), wonder
(adbhuta) and peace (shanta).
RRT fe HRlfecHfe R*JT§ RRRRTf k RR RRRT % RR 3 fRRTT
An ancient classification followed in all styles is of Tandava and
fen I, ffek rtrr fek rr afei Rfferfe % « fen
Lasya. Tandava, the masculine, is heroic, bold and vigorous. Lasya,
riri ill ^i(U (rr) % y^<si hmrIr 3# rt) Irt, rit, ahO 3frr fRR<k
the feminine is soft, lyrical and graceful. Abhinaya, broadly means
3TTft" % rr k rrt fe RTRRkr rtrC (rrftD fe kfe k ferr fef
expression. This is achieved through angika, the body and limbs;
rrt fe rt} rr) fef rrt 3tr fe fef m^rh rt) fet ti
vachika, song and speech; aharya, costume and adornment; and
rttr % k ferffe rrr^ RrfefeRT fe fet % wh ti fe satvika, moods and emotions.
RTRcffeR % ti m t, fer% dm I - rtrrrr!, R) rtrr rr Bharata and Nandikesvara, the two main authorities conceive
3nwfe RRirffeTT t fe ^frt ferfe rt^ rtt fen, mfefet, of dance as an art which uses the human body as a vehicle of
RfeRfet rt feffe fed 3Hjfedi fet rt ^ft rr rprC R expression. The major human units of the body (anga) are
RRkpT fen RT RRTRT t - fefe, eTTTR RRcJ % RRR k ^RFT RRFR, identified as the head, torso, the upper and lower limbs, and the
minor human parts (upangas), as all parts of the face ranging from
R3T RtffeRR; 3Rfe, ferfe ■jfefe; Rcfet RR TTRI RR ffel fen
the eyebrow to the chin and the other minor joints.
RTcTT t RR 3TRRT TRRR RRfe fen RTRT t fe RTTRt (RTTfen fe) I
Two further aspects of natya are the modes of presentation
RTRTfek % fRRRR % RTR RTTR kfecR fe % ffeFT fef R
and the style. There are two modes of presentation, namely the
fefe |RTT| RRRk 3RRt TJRRT feft k RR ffeR Tffe Rk RRfe Rk
Natyadharmi, which is the formalised presentation of theatre and
Rpn fen; Tffer k Rfe faffedl RTRT Rffl 3RT; ‘RRRT’ Rft 3fe
the Lokadharmi sometimes translated as folk, realistic, naturalistic
TRjTR fedRi RRt; ffe RR RR RTRRTRRR, RTRRTfe Tjfefe, RRRT, or regional. The style or vritis are classified into Kaiseki, the deft
Rffek, fe fekft RT RR k RTRt ti RTT RlRdKi fe Rife fe % lyrical more suited to convey the lasya aspects, the Arbati, the
RRT feffe tRfRRRTR t, Rft RTR, fefR % fefe RRTkkt'. RTRRT energetic masculine, the Satawati, often used while depicting the
3fk RRT R^t % RRR % 3dRdR k RRRfRR ti RfRR 3TRRT3Tf % Rl^cjM rasas and the Bharati, the literary content.
fe ^RC 3HlrHl3ff Rii 5(1 id RRt % ffe Rt -^rd fRTR Rnt tl RTR R?T
Nurtured for centuries, dance in India has evolved in different parts
RTRfRRT RfeTfRRd ^J?R % ffe Rt RR7 dTPjnf ^ f |
of the country its own distinct style, taking on the culture of that
particular region, each acquiring its own flavour. Consequently,
femr r^rt
a number of major styles of 'art' dance are known to us today,
like Bharatnatyam, Kathakali, Kuchipudi, Kathak, Manipuri and
■^Rf nrg^ rs rt ffe 3tfen fekt ^r rtt Rd t fe RTfer RnfeR
Odissi. Then there are regional variations, the dances of rural and
•jcR % 3Tfe fe R k RRi' tl SsOd 3fR RTRR % :RR t 3-sl^ "^R
tribal areas, which range from simple, joyous celebrations of the
fe RTR, tRRTRTi' fe RTRR k RfgT, fenffe fe fefe ^R tl RTRR
seasons, harvest or birth of a child to dances for the propitiation
RTRR R Ri 3fe felfe feTRRT3t RR Rcfe fen RRT ti Rffet-’^Rf
of demons or for invoking spirits. Today there is also a whole new
fet RRR RRR fet % RR t fei t, ffeR' RcfRTR fe'Ri Rt RTfe
body of modern experimental dance.
3RT^R % FT t RRRTRT RT RRTRT tl
Odissi Dance
■JJRfed % RTR RRRfRTt fe Tcju^piO 7pnT3t k FR ^R dRR %,
Odisha, on the eastern sea coast, is the home of Odissi, one of
^Rft RTRfe fe ^ % ^<1 dcfe RRTR RTR fe ti RTR k ^ RfRRT3ff
the many forms of Indian classical dance. Sensuous and lyrical,
% 3TRfe RRTRRR, ^JcR Rfe RtntfRRf RTt dlTdRi Rl^fdRI, RRRR fe
Odissi is a dance of love and passion touching on the divine and
RTfe ffe Rfe % 3RR ffe RRfRRTR RRT Rtfen fei fe fe
the human, the sublime and the mundane. The Natya Shastra
^ RRRt fei fett RR RRT Rff, ■Jrd Rft ^R tRRR RRRR RR RRT
style known as the Odhra Magadha which can be identified as the
RRFR RRJR Rmt ti RR RRTR RRT ftffe fed - RtFRTR % ffedTR earliest precursor of present day Odissi.
RT fe % Rtfen t feRR tl RR tfeRTR % RTR RTRRR RTRRt fe
Archaeological evidence of this dance form dating back to the 2nd
tfe rr; t artffen t rrtIrr ^3n, snfe rrm^ihI Rffe' rtt ffen
century B.C.E. is found in the caves of Udayagiri and Khandagiri
fRTRT RRT I tdfei Rtt k idWd Rfefe RR ttkRRTR fe Rftr, RR%
near Bhubaneshwar. Later, innumerable examples of the Buddhist
ijFf RRTR RT :;J?R % tfeT RffR h'R< Rft SHKd % Pdfel Rit RftfRfR
sculptures, the tantric images of dancing Yoginis, the Nataraja, and
RR RRRRR tl 3TTR tt R?«R RT RRt RR ^JcR RfdfRfRRT fetRt Rcffeif
other celestial musicians and dancers of early Shaivite temples bear
% Rdk, fen yld ti testimony to a continuing tradition of dance from the 2nd century
% fall TR ^ Rrpra arftrchiRui) TFfl w^t, raft t^cRR B.C.E. to the 10th century C.E. These influences found synthesis
rafra* raft -rtfra^i (ftrararrat) rat, rak-rak wt rarrakf k' ranra raraft Rirat', in a unique philosophy — the dharma or faith of Jagannath. With
fraRkk hRrih rararara rarran-rara ran fra i^tti frat rarara % srra-qra Hinduism taking roots in Odisha by about the 7th century C.E.,
R-sraft ran rarar raft, frarat fttegran ram raim «tt. rat raim 3 qraN rar. -ftfra* many imposing temples were erected. The magnificent Sun
ft' ftft raftftf % rami-ra rankinra % fraq rat ^jra rankl rrtti fra fkft % Temple at Konark, built in the 13th century, with its Natya mandap
raftmn ^jrararaf ft ft raftrai rategrar rararara k nrarakran ti or Hall of dance, marks the culmination of the temple activity in
Odisha. These dance movements, frozen in stone, continue to
rafttrat trp ra^ra rakft ran ^jcra t raftra: mm ft mRratra rarera mrara rarai
inspire Odissi dancers even today.
mfranra raftm ra* mraikra ti ram 3 ra^TT^ tram % rafrarara raftm raranm,
For centuries maharis were the chief repositories of this dance.
rarararat ranra % rafrarara rafraran 3|r raftrara* ramram % 3rr aftranra
The maharis, who were originally temple dancers came to be
mfraran ft sftnranftd: raft traraT ram ti
employed in royal courts which resulted in the degeneration of the
rarar % 3rra rarraf raft ram, raram?rarai raftfran nfttftt raftfranraf raft art form. Around this time, a class of boys called gotupuas were
ftran nrain rarau t raft* ^?ra % tram; fraran-raraj rat rararaw rararaT ti ran trained in the art, they danced in the temples and also for general
raira fraftran: rara^ra mra ftran rarararaf rarat % fttra ftftram; % rak ft ram entertainment. Many of today's gurus of this style belong to the
ti fraraft raifrafftmi ^traft rafk mfran ftraft raft frarara *jrat ft rara nnfrm gotupua tradition.
rarfracTTo; 3fR mrarai-nTfraran raira ran ram ranra nramran 'll ^rara % fftra; Odissi is a highly stylised dance and to some extent is based on
raftra raft rafrara ranft ft ffrararrat f?i the classical Natya Shastra and the Abhinaya Darpana. In fact, it
has derived a great deal from the Abhinaya Darpana Prakasha by
raratrat ^im ram ft mrammrara sin nmfran fmgftft ran sr^rarara raran ti
Jadunatha Sinha, the Abhinaya Chandrika by Rajmani Patra, and
ftift % raira, ^m-'gmra; rak raifk raft rafrafrafrarat ran rararatra ram fftfmran
the Abhinaya Chandrika by Maheshwara Mahapatra.
sraj’^fs, Tirar raTrara rai nrarftt ft ft fmftt ran % rarara % fftra; fmm
rairaT ftl As in other parts of India, creative literature inspired the Odissi
dancer also and provided the themes for dance. This is especially
rafrafrafra raft nmfttfmraf rat 3nraRran Tj5j3tt-ratrai afk frarara % arara-raRi
true of the 12th century Gita Govinda by Jayadeva. It is a profound
fftfftn rat?ft ti ntm ran raft (ratrafft) raft frarafra f i rara mk % raR %
example of the nayaka-nayika bhava and surpasses other poems
raran ragirara % raira rara^ 'jraulfrad ^ ti frarara ra^ ^ R^ralRd grar in its poetic and stylistic content. The devotion of the poet for
t, frararaf rakk ract, rara 3fk '5^ rara ^jrai ftrai ti Krishna permeates through the work.
rara raraieid cfrakft ^Rft ran rara’ ra^ra rararra1^ ^ Rrai frafrare rai^rara Odissi closely follows the tenets laid down by the Natya Shastra.
ti frak' rakk ran frararara ttrarai frarara rararan t aftra raktra % rairarat frarak Facial expressions, hand gestures and body movements are used
% 3rara irt rara grat % ramni-tR Rra^ aftra ^ 3ftra rafra rarrarai ti to suggest a certain feeling, an emotion or one of the nine rasas.
frar% ratgrarara % ferra; frafrare rafrairara raft arararararairar ratrat f frarfrarq; rafraf
The techniques of movement are built around the two basic
rar fra?Rrat raft trararaft rafrafrafra k raraT raidi ^1 rafi rarrararar rafra, raratgraft postures of the Chauk and the Tribhanga. The chauk is a position
rai raft % krai % rarara frafrarara rara-rafrarraR ti rara rapid rafrafrarat raft imitating a square — a very masculine stance with the weight of
rafi frafrararai r Rraratra raft ^rairat f 1 rarat ffraf raft rafrafrafrarat raft ra^w^ra the body equally balanced. The tribhanga is a very feminine stance
RRiradira,' rat 11 srfraraRR kff raft rafrafrafrarai' rarraf rar rt 3rrm ra krarara where the body is deflected at the neck, torso and the knees.
rai ^rairarar ratrat t i
The torso movement is very important and is a unique feature of
■^ft raft rafrafrafrarat % rafdkrara raraf wraiRT rar rararara % fraira; raM raft grai the Odissi style. With the lower half of the body remaining static,
frafrararai t 3ftr frafrarara gsraf -gkfradi fRi ftffra ti ^ raraf ram raran t, the torso moves from one side to the other along the axis passing
through the centre of the upper half of the body. Great training
rara ragi frafrarara g^i ra rafrafrafra raft raraifra % rararafrarai rfratra ti
is required for this control so as to avoid any shoulder or hip
rarragmt gra rara' ^ra ratrat k rararrag4 gfrarara 3m rararat f 1 gra k grarara
movement. There are certain foot positions with flat, toe or heel
rararatra %rarr rararrarat 3mraRrait % mi k frarara rairn t aftr gm k grarara contact. These are used in a variety of intricate combinations.
rararafra raratrara k frarara rairai t raratraf ran frararaifTO rrarararar rargratrairara There are also numerous possibilities of leg movements. Almost
ran rarai frafrarara raira 'i', rarar ‘rm’ raft raicraraT raft rrarai % frrg rarkrai all leg movements are spiral or circular, whether in space or on
^frarar rararara ran frarafra rrara rat ram mraffrara mr k frarara mraT ti the ground.
rararairrarara ararkrarai raram i, iraraf rarfraff rairaf k rirt frarara; tfk-rak tpej In addition to the leg movement, there are a variety of gaits for
rar ra% rararat t sftr rarraf raim raff rafkra rararat ti ^ra% raira rakraft doing pirouettes and jumps and also certain postures inspired by
g^ra raff ramra rairrat fi arnrarffr rar ramfdrai rajraRrara % fdra; ra%] sculptures. These bhangis, as they are called are really units of
movement ending in one particular stance.
3ZTFZZ fZRT "5TTrTT tl Z)Z fZ ZZR % ZZTZ ZZTZt ZZ 3RZ Hand gestures play an important role both in nritta where they are
3Tk ZZfoi' ZRt ZfzZTCZ % ZZTZ tl used only as decorative embellishments and in nritya where they
are used for communication.
3ZTZl Z^ZT ZT) ZZ Z7ZI ZTZT t, ZRT rRf 3Tk f^^Fft zt ZTZTZ'rjct ziZZT
The formal repertoire of Odissi has a certain order of presentation,
3IZT zk fMdirZd ^•MlrH'=hdl f Z zttZTl' ^ dZHlcb % T[Zf fZRTZ
where each successive item is systematically put together to
ZT ZZZZT f ZTTZT ^TTcTT tl TZ% ZTTZ ZZTTZT ZRj ZTeTT ZTZtft Zf[Z ZTZTI t -
produce the desired rasa.
Mld-MshH ZZ fzzf Z)T ZZTZt tl
The opening item is Mangalacharan where the dancer slowly
zz ^jz zt % q^zl Tjf^f^'
Z' z|zt c^iteni ztz f sfR
enters the stage with flowers in her hands and makes an offering
ZTZfZ % ZZZ-ZTTZTZ ZT«Tf ZRZ ZZ ZRZ 3TRTT tl TT^Z PdRlZd TFT f
to mother earth. This is followed by an invocation to the deity of
Z)T dHIJ Pi cl I r-H d-> ZZfZZ ZZ <^ZIcHZ ZZ#T Zcfzt £RT TqgZ zfc ZZtfZft
the dancer's choice. Generally, Ganesha is called upon to grant an
•■ IRlRdP^RTT % ZTZ fZTZT ZIZT tl ZTcZ ZtZHI % 3RZR ZfftcZ ZFprf zt auspicious beginning. The item ends with a nritta sequence with
fzltzz ddlcHZi ^4l'd<u| f ZZZdl zt ^TTcft tl salutations to God, the Guru and the audience.
ZtfZZZ Zt ZT^fd % £TZ TZZZ 3FJZZZ fzzq] ZfTZT tl 3tPfeYn t ZZTZ The next item is called Batu where the basic concepts of the
£TZ TfZZ dK^dl ZZt % ttd-dlPcK % Z'Zq'fl % ^Z zt ZTcJcT ZZZZ Odissi nritta technique are highlighted bringing out the duality of
tl TZ difcldl ZZ ZZtcZ (oddlrH^dl) fcRlqd: ZZM ^tzft % %Z the masculine and the feminine through the basic stance of the
Zq^Zd t ^ftcT ‘llPd^l % zfdRzd zt^ ZR, ZTttz TZ, Z'dHIdl 3frf chauk and tribhanga. This is danced in praise of Batukeshwar
ZtZTcZ fzorr -Jft 3TR Z^lzl <+>r^dT zt TZZT-Zf ZZ zt OTfl fZRT Bhairav or Shiva. The accompanying music is very simple — only
a refrain of dance syllables.
■STTcTT tl
After the very basic exposition of nritta in Batu, comes the flowering
t'mzd ZZ znfeft ZZZZ7, zfr ZTTZZ ZZ? 3 ZZTZT ZZZTZt 3fR 3#RTZ ZZ
and ornamentation of music and movements in Pallavi. A musical
ZTZTRd ZZTZZ ZZ zR-HZZ t, ZTj Zf8t <*>51 ZTZT tl ZZZTZZ ZZ 3Z8JZI
composition in a particular raga is visually represented by the
ZZ Z'4d tldl t ztz d4*t zft-zft ’’ZHdl fjt dl9ldl zf Z<*-llcZi4 FT
dancer with slow and subtle movements, building up into complex
Z^Z^ tl ZZ Zcfzt ZTfezt PIR ZZZt tl
patterns highlighting rhythmic variations within the tala structure.
ZKZT tFRZT t TJZRT: ZZT TOTZZ ZFRd (Rp f% 3ZztR ZZ ZZZ
This is followed by the rendering of abhinaya. Odisha has a
^ ^PZT t), ZFTZT ZZT zfgt ZFRT, Z^ fZTZTZ ZI #Zf ZIZZ7 3tz continuing tradition of dancing of the Ashtapadis of Jayadeva's
ZZd ZRkl ZKZT ttzi tl Gita Govinda since the 12th century. The lyricism of this poem is
ztzrt ztcT^kt, rrP % ztWP 3Z’fzizf zz ^zn zzzt t 3tz ^zrt zzd particularly suited to the Odissi style. Apart from the Gita Govinda,
the compositions of other Oriya poets like Upendra Bhanja,
fzztz %ZT-ZR3fT tl 3ZRZZZ znztfz ZZ ZZTtP fZRiP tfcft t sftZ
Baladeva Ratha, Banamali and Gopal Krishna are also sung.
fzfw zRt Z zzzt ZTTZft tl
The concluding item of the repertoire, which may consist of more
zztzr zzgfz z ztr zzr fzr z^ ZT^fzzr zzfzfp zt tzzrfzzf
^Pzt zt
than one pallavi and items based on abhinaya, is called moksha.
zzfzzr zt ZTftfe Rzzt t fzzzra ZZlcft t, Zff t ^JcZ % ZTRZ 3
Pakhawaj syllables are recited and the dance moves from slow to
ztef
zi ■gfzz zt WPzdl ti
quick sequences to reach a climax, when the dancer pays the final
obeisance.
An Odissi orchestra essentially consists of a pakhawaj
player (usually the Guru himself), a singer, a flautist, sitar
or violin player and a manjira player.
The dancer is adorned in elaborate Oriya silver jewellery
and a special hair-do. The sari, usually stitched nowadays,
is unique to the style. In each performance, even a modern
Odissi dancer still reaffirms the faith of the devadasis or
maharis where they sought liberation or moksha through
the medium of dance.
wk wsn arutmk) k fkij; jiThfoifyirc
CREATIVE ACTIVITIES FOR STUDENTS AND TEACHERS
xrr rrt rt?jr RfkRRRf rt 3TTRrftR kT^faRi Truk rr fr^fr mk The Cultural Packages on dance and the suggested activities aim
at familiarising the students with :
kt fkr fkrk k srgrTcT rrm t :
— the grammar and technique of body movement of different
RTTRtR ^JcR Rff fkRR kfHRf kt i!ll(lR<+) 'ifcffkR RR °RIR>f>l 3k
styles of Indian dance.
fleh,l)eh I
— dance as a vehicle for communication.
ttrtt % fHR; f^R rr^ ch$-i k trr tj
— the range of dance vocabulary and how closely it is related to
^TR ^KIRd) Rft krq (iron) 3k RF fkTT M TTHT3tt, WWt' real life — through stories of kings, super-humans or animals
RT RMchT 37k if#' Rft RFIPhrT FTTT HTTTTfRRT RtRR k fRRTF and flowers;
^ r
— the study of the historical evolution of dance forms through
TTTkfcRRT cT«TT FRRTRTRT RTRltt FTTT ^ TRt k Q.td^lfkch F^RR literary and visual sources.
RT[ RTtRRRI
A few activities have been suggested, however, there is scope
rft rt cjr? -iRiRiRrRf Tjfk r^ i?, rt fr tirf R fkt r4 fkk Rff for using the illustrations in this package in a variety of teaching
and learning situations. The teachers are requested to use these
RTF-RTF Rft fRT^TTRRRT 3k Tkkf Rft RftfTRfRRt k RRRR fkR RFf Rft
in as many school disciplines as possible. They are also advised
TTRTRRT fl f?T2JRTt Tt 3T5TtR t fk ^ FF> T^TH k RRk RTF HTct FT
to invite dancers to the school for practical demonstration in
TTRR fRRRt "4 RRftR tf TRTk I Fk RF Rt TJFTTR Rri HTRT i? fk TTRlR R
music and dance. Students may be taught small dance pieces,
^RT % °R|c|g|ftR) R%^TH k fHR; Fkfff-FctfkRt RR RfH R 3RRTRR
if possible, for them to have a first-hand experience of rhythm,
Rt'l HTRf Rt, RfR TTRR ft Rt, ^JcR % RF} TR^F kk RT TTR?t t,
music and expression through body movement.
dlfRi RTF *I|0Rr Mid k SKI HR, TTHtR 3k RTR RR RRR 3RJRR yi'-d
1. All classical dance forms in India revolve mainly around
Ft Tlkl
themes from mythology and nature. Stories about gods
1. HTTR k TTHt RTTTHtR fpR HR krrfHR RRT3ff 3k RfTfo Tt ftk
and goddesses, the origin of the earth, different aspects of
rr fkkf k k k-'M ^ ti kft rri krarkf, rr ffrr, nature, etc. are selected from myth and legend and then
RfrfR k fkRR TRRt 3Rk k RTT H RTFTfFRT, 'JTPR RTRT3Tf RRI communicated through dance. The students may be asked to
RR RRT3ff k RRt HTRt t 3k fRR Fk ^JRR HR RTTjR fRRT RTRI choose important deities, natural forms or real life situations
tl FTRf Rt FR HFRRf^ tfkfWFfrfRR TRFRT 3TRRT R^RR which they have seen in dance, as for example,
Rft hRPtrRirT R^t k Rr u, rft rt TfRrRi f, fRk Fkk — Shiva, Vishnu, Ganesh, Parvati, Durga, Saraswati,
klT tl FRIFTRT^ -
— important rivers, sacred trees, flowers with symbolic
kiR, fk*3, RkT, Rikft, rttr^i messages or wearing ornaments.
RFR’k Rfkff. RfRR STT^RH r^rr xr RRlRRcRF K<TlT k They may then be asked to collect all the mythological stories
TfTR TfHI and legends connected with each. For example :
fkr FTRf k R?RR) k TTFR TTkRR RkTpRF 3k RR R^RT#' RR RRilRR — how Ganesh got the head of an elephant,
Rrk k fHR RFT RT TTRkTT tl FRTFTR k ck RT- — what was the outcome of the churning of the oceans,
j 1u) ^ 1 Rrt fkrr rrrt Fik rr fk rfr ^3tt, — legends linked with the lotus flower, etc.
TRTF k RRR RR RRT rIwR RT. Reference from books, interviews with senior citizens, the
observation of traditional customs and rituals can be various
RRRR k 't R,-sl ^ RR RTRlt 3RfR|
ways in which to gather information. This exercise will help
RR TRRR R |jWR)l ^ TTR't kRR, F^R HMlRk R TTTRRRRT RTlk, the students widen their knowledge. The material can be
exhibited on the bulletin board and made into a project book
MTU|<Mld fllR-RRRT k fk^RR sk RTftRT RkRTFFf ^ RPTRRTl RPR
for later reference.
k RT TTRRTt tl RF 3T«RTT FTRf k RTRRRTt RRTt R TTFTRRT Rkm RF
2. Periodic excursions may be organised to temples and
WRRt T^RT k TTRTHTT RR kt RT RRtkR Rft RT TTRRTt t 3k RTR t
museums so that children may be exposed to sculpture
TTFt k ftrTR Ft HRRlRHI 'JTRRT k RR t RRTRT RT TTRRTT tl
and painting. Those specifically related to dance should be
studied in detail. The students should be encouraged to note
2. RfRTt 3k TTRFIRTRt k fRRRRRfHRT RRR 3RRttRR fkR RT TTRRt
down various aspects regarding each work of art — facial
f, RTfk Rk iRTRR 3k fRRRTHT k fRRR f RTF TTk, k fktR
expressions, mudras, postures, costumes, dance formations
RR Tt F^R ^ TnkfRR t, FRRR iRTRTT ^ 3RRRR fkRT RIFT RTfRRI
and even the surroundings and environment.
wkt kt rrtt "griT^fR k rtr, ^ftr, kkriR, kT^fRT, ^jrt
TRRTR 3k 3TTTTRTTT RTT RTRTRRR, 3TrfR k Rckr RTFt k fkRR Students from the senior school may be asked to make a
RFojk' kt 3k «RTR tt k %R RtTTTTtRR fkRT RTRT HTlFR;i study of the relationship between the dance form and specific
pRRldR % WRf RTF RR rFt f?TTR cr^TT pR44idl RTF pRp*|Ri items of sculpture and painting. A folder with photographs,
RTgRf % #R TRR^R RTT 3TKRR RTTR RT %t rtrt RT RRTRT tl pictures, observations and comments may be prepared.
WPTT fRRF', PrrF pRRfRRF cT«u f^EjTTt % RTR RcfT ihlcrsH cFRR
(Pictures from this package may be used similarly in the
FRTRT RT Resell f| (WRF RTF RrF % RTR qRFdd RRRTR %
classroom before organising an excursion in order to make
f^TTT RRR RTT <*l4*H RTRFfRR RTRt R TJcf, ^R W Rt fRR rFRT
the students familiar with the forms).
RRF RRTR ^ RT^TT R rF RRfR t} RTTTt '3TT RRT?F f'l)
3. Students may be asked to make large drawings or collect
3. "tJTRF RTF RR% RRT ^ fRT "^Rf RR 3 RJRR rFr RTefF RRT fRfRR
pictures of all the different mudras or symbolic actions used
R^TRF RT ydlRIcHR) R%Rf % fRR ^Pdd RTrF RT R^ fRR RRFf
in the dance form they have seen. A large board may be
% 1rr; rtrt rt rrtrt ti wfe rtrt % rtr rrt rrj rF^
prepared with traditional decorations. Under each mudra or
rFRR fRTRT RT RRTcTT f I RrFrT TJSJ 3TRRT f-ddlrH^b RRllRRRR %
pictorial representation, they may be asked to write its name
4F# RRt RRRTT RTR, 3T«f Rtl dMdlPldl [dUd % fRIT RTRT RT
and meaning and what it is used for. Senior students can add
RRRTT |l RRF RT^TT % *5TR, RRT RT ^RT/RTR RRRR IrtR RR f,
the Sahitya or verses of the songs where the mudra/action
RR RR R7 RTfRRT RT rFr % *5R (R^-°eS<0 r|r RRT^ f'l RRt
is used. An attempt should be made to project the use of the
^/RtR rtF Mrr RffftRfRRt r rrtr R rtR % %r rrtr 1rtrt
same mudra/action in different situations.
RMI RTfRRI
4. Facial expression — Abhinaya, forms an important part of
4. ^I^Pd RTR (%7 % RTR) - RfRRR ^?R RTT RRT RRcRTJtrf %rrt
dance. The teacher should explain the nine rasas to the
tl R^RIMRil' £RT WRF RTF d) *TR’ RRRfF RTfRRI fRRTRT RR r4r
students. The details of explanation can vary with each age
sRRF % 3R^ RTf % %RTR ^ f*FT <q\ ^ RRRFI tl
group.
RTR RRT RlRRR 3rI1mr|Rr, T#R rF RRTRT tl WRf
An interesting informal game can follow this. The students
RTF RRR: RRT^ Rf RftlTRfR RT RTRTRF RT RRT RTR RTF TJRT
can be asked to mime a mood in a self-created situation or
RR t y<r^d RTRF % fRTR RTRT RT RRRTT tl RTSR % RTRfF
story. The rest of the class may be asked to interpret the
WRT Rt RTRRTt M 3R ^ RffRRR t ^TRR *TR’ r4
story and name the rasa that it portrays. Bhaya or fear
RRlt % Pciy, RTRT RTRT Rlfty.1 ‘RR’ % RT RT % RTR Rpf,
can be depicted at length, for example, as a child trapped
RRTRRRT^ W RRRT RTJR fRTRT RT RRTRT t - 3TTT R4 RRRT R'
in a dangerous situation in a dark and gloomy forest with a
RdiilRi MRPtRIr R RiRT "|RR RR7 R^RT 3pfT RRT RTTRRT RTRRT RRRTT
fearsome animal chasing the the child. Simple movements
RiTR RRRT ^3RI ?R RTR °tt RTR 'gsTTRf 3tr RRTR RfRsrfRRRf ^jr
and prominent expressions can reflect the mood.
yPdPd'Pdd fRTRT RT RRTRT tl
5. The teacher can encourage the students to improve their
5. RtRTRRT RTRTRR ■'[fdPRpRRf RldlPdd RTRt WT3ff RTF RRRfF RTR RT rhythm and tala by organising simple activities. The students
‘RM’ RTF ^RTTt % ffRT RFcRTftd RTT RRit tl T5TRF' RTF RT^R tRR
should be asked to prepare charts where the beats of the
RTTt % fRPT W RT RRTRT t, Rtf RT RTRRfRT RCJRF ?TR RTRTcRRT
rhythmic pattern are visually represented using attractive
RRt RfF RTRT3TF (did) Rif ^RRTTRRT RR t RRJR fRTRT RRT tfl
motifs. Different motifis should be used for each different time
fRR-fRTR RRR Rsbl % Rdk, fRR-fRR R^t RRTR t diy, RTt
cycle. (A key can be made to explain the value of the symbols
RTftRFI (RTt t fRTRTR: Rt RRFRT fR^ff RTT R^cR RRRTt % feRT
shown in the chart).
RRT ^Rt (RRT dlPdRil) RRT^ RT RRTeff tl) RffRRT 3^RRF TJTRp
More experienced students may be given another graded
RTF 3tr 3RR dFdfdfRRT Rf RT RRTRF tl
activity. Each student may be allotted a fixed number of time
RRFRT T5TR RTF TTRT fdlllRd TH^TT % RRR RTRRT f^t RTt RTltR
bars and be asked to create rhythmic patterns within the given
3tFt R^t rtr 3tr rRtrF % f^RR rRr<4hT 3tr rrFrrF' % rrFr
time frame, using various permutations and combinations of
ft4 Rt RRR % «|R % rFrT RTRRRRT Rfjt tRR RRt %
speed and rhythm. This activity will bring out the inherent
ftR RTRT RTRT RTftRI R?' dPdfdpR TRTRTfRRT TRRTRTRTRT Rt RTRt
creativity and develop precision and concentration.
rttrrF afFr ?j^rt rrt tt^ttttrt rtt Frrttr rtMi
6. Teacher may give the students a project topic, such as 'Dance
6. 3TSRPTRT I5TRF' RTF tfRRT rFrr t ^JcR ^RT MPidlddl-fRRR t
in daily life’. The students may be asked to observe the
RRTt tl TRRf RiF 3TRt 3TTR-RTR % cfFtf RTF 3TfR^TfRRRf RRT
actions and expressions of the people around them. Students
FrtrT-RTcTTRF RTT fRRrtRR RTTt % Idd, RTRT RT RRTRT tl P+»< Rid
can then compile a list of scientific dance movements that
tiTTfRRT ^J?R RT gRT3t RTF RRT TJRF RRTfRR RR RRTt t, RF tfRRT
are akin to those in daily life and trace their origin in every
rFrr R R^RR ttefF t 3qfFr t RRRTT R^TR RftfRR Rft RfRpRpRRF R
day actions and mannerisms. The students must be made to
RR RRTt tl WRt Rt fR RTR 't 3TRRR RTTFTT Rift4, fRT RTRTT RR
realize that art forms and real life are closely linked to each
3RT tfRRT RFRR - RFRF 3RRR t RR^ fl RTRRRT, R^t ^T®
other. Intact, they may be asked to pick out a few common
RRTR "55TR fdt % fRTR RTRT RT RRTRT t ftTT t TRt dl'RRfrHR)
gestures and convert them into aesthetic dance movements,
^JRT ^RT3ff t 3TRRF RRRRT % 3T^RR RffRftR RTT RRTt tl
using their imagination.
7. RRRRjyf RTftRT R RIHlPdR) cRFfTt % RTRRT RT TRRF RTF RI^ ^JcRF
7. During important religious and social festivals, the students
RTF TRRT RTTt tr fRTR RTRT RT RRTRT t, fRRR rIFRR % RRTR Rt
may be asked to compose short dances depicting — the
RRTRT RRT RFl RRJ^TRT^ % RTR, RR^h ^F R-rIpHR RTRRT
relevance of the festival, for example, birth of Jesus, Lord
#R slfcHcbl cfff RTRT# rT^TT R#RTR RTt RRTR % R##, RTT# RTt Buddha, the Nativity play, the story of Holika and the manner
RRR]R #trt ^T rtrtrt ii w ^ rr#tr % f#r t^irt Rtt rtrt in which the festival is celebrated. These dances may be
presented at the school assembly on the day of the festival.
3 ^TF^rT f#RT ^1 RTRTRT tl RR 'iPdfafa R51R RTT TR RTR RT W
This activity make the students aware of how the concept of
RTRT# t % f#RT RRRR 3RR5T^ #R RRR RTT #RTR RT# R# RR
goodness and truth permeates all religions.
RRR1 RRTR TgTRTRT f I
In order to discover the creativity of the students, the teacher
8. R5T# RTt RRRTRTRTR1 RTt R## RT RTF R 3T*RIR4>T RTT RTf%TT
must involve them in interesting activities related to life, in
RTTRFR RTR #, #RR R RT#fRR RrfRRTR ##RfR# Rt
general. The teacher may, therefore, distribute carefully
#fl 3TR: 3RKTTRRT STTRRTRf #R #4)1# 3 RTTRRF##RT ^ p;
selected topics on relevant issues from newspapers and
RR## f#RR W# RTl ^ RTR# tl RRIRTRT^ -
magazines, for example,
- RTTf# Rft 3TTRTRRTRT - RF#R RTRTRT - the necessity for peace - national integration
ftRT # ^T#TT - RHiPiiR) STRTRTRR# - the futility of violence - social inequalities
- RRfcRR RTRSFR - conservation of the environment
10 3 15 W# # RFJ# RTt 3TI4#4> RRT RRTRRTRt #T # TRRT Groups of 10 to 15 students may be asked to form tableaus
RTRRvtR pR #4)1 RR# % RiO, RTRT RT RTRTRT tl #4)1 Rl R#FTT in an appealing and effective manner. The planning and
#R fRRTP RTTR-RTTRT 3TT# RR# # RFJ# ^R1 # Rl R# RTf#R| designing of the tableaus should be done by the student
group themselves. The aim of the activity is to create
IR RfcrfRfR RR ##R *5T# # RcFTT RRTRT t #R RRRTt RTFTTRTRT
awareness among the students and use their artistic talent.
##TT RR RR#R RRRT tl P ffTf## RTt RF#R fRRRf’ 3TRRT #R
These tableaus may be presented on national days or on
#RRT # 3TRRTR RR RRRJR %RT RT RTRTRT tl
sports day.
9. fRRRRT ^cR, #3 R^jRT # RT#RT #RRT RFTTR# RRRT 3RR f#RTf
9. A thematic dance ballet can be prepared for the school annual
RRTRR # foTR; #RTR f#RT RT RTRTRT tl RT# Rl^RTRRT TRRT RTR
day celebrations or any other function. The teachers can work
fRRTRR RTTR RR RTR# t #R 400-500 Rldl Rt e)4K RTRT RTFfRTR
together and organise a show involving 400-500 students.
(#) URTTR RR RTR# tl ?RP# f#R RTRTfRRT #R # f#FT #Rf -
Themes of topical interest like conservation of nature and
RF#R 3TtR RTR^fd RR RTOTR. RTTRRRT, ^ #R #ft, #R#RTfRT# culture, literacy, hunger and poverty, the problems of slum-
RTt RPRRTU; 3TT# Rpf pT RT RTRTRT tl %TT fRRTTRTRRR fRRWl R^RT dwellers, etc. may be enacted. Such a mammoth production
RRT RTgRTR RRT Rt Rpi RRTRT tl will reach out to the school and the community as well.
10. 3RR Rp R^cRpf RfMRfRRT' WRf % fRTTT 3RR>fRd Rlt RT RTRTcft 10. Another very important activity must be organised for the
tl RTRt 3RR RTTRRfR RRT RTtRT % RfR W5ff f R^fR RRTR students. In order to awaken in them an interest in all the
t^ 3^ RTRT Rldl Rlftd, fRT ^ PdR -Jrd RR "t MplPdd t, cRTRt other classical and folk dance-forms, the students must be
encouraged to compare other dances with the style they are
3RR pT ^h! Rft pTRT RRl
familiar with.
RTT.Rf.R.^. ?RT pR RR cldK fRTR RR RRltt % 3T?RRR RTR PdPdR
By studying all the packages on dance prepared by CCRT, a
RRTR Rt dfdPdPRRT 3TNlPdd Rft RT RRuft t, RTR tt RTRTtR pr
variety of activities may be organised. In addition, exhibitions
RRf % ypd WRt Rit RTRRTTTt RRTt % fRTR Pddl, RT^, tRTpT,
with pictures, charts, costumes, musical instruments, and
RRpR RTRf atr ^WRiT RTt RR#TRT RTRT^ RT RRTRt tl
books can be arranged to widen the knowledge of the
11. 3RRRTRT, t?T % RRt Tl^l RRlf t PddPHd RR ^ pT-RcRRt students regarding Indian dance forms.
RTT RTRtRR fRTRT RT TR tl "RRT Rt % RRf t, Tiptt, fRRRTR.
11. Nowadays, dance festivals are conducted regularly in all
RilRIcP 3RfR RR#' # RfRR RFcRpt pT RRT#' % ##' # RR t the major cities of the country. In recent years, the temples
RRR RR RTRt 3T# t'l RRlRT t# % RTRT% # ## RRRf R RRT# of Khajuraho, Chidambaram, Konark etc. have risen as
# R5#f RRT # Rplt tl RTTtRT# RTT t#Tp #tRT RT# RTR IRK centres for important Dance festivals. The Spic Macay
RRf t fRRT RTTRT |l t5T# RTt RTRTRTR RRf # P RT#RT# % ##' festival reaches even the students of schools in small towns.
Rft RTRR^ KRiPdd RT#, R# fRRTT 3T*RRR RTRR 3flR RPd'R # Extensive reporting is done in all newspapers. The students
RFRt tg RTRTRT RTR RR# % f#r RTRT RMI RTfpi -joM RTF## should be asked to collect newspaper cuttings, study them
and keep a record for future reference. Names of artists and
R # Rf#5 RTRTTRT# RRT RTRFTRTt # RTR, ffc RT pfR RR^Pd#
famous accompanists, information regarding rare or special
#R RTRT, RTR RRT 3Tf#TR RR RfRRTR f#R#FTT (RT#RT) R##T
items in the performances and interesting comments on tala,
RTt Tq# ##t cT?f RR^RT 3FRRR f#RT RPTT Rrfpi
bhava and abhinaya may be collected and studied.
12. #RTt (pR RTRTTRTTRt) Rtt RjfRRT, RR# pi RTt #f##, RTR3R
12. Lists of dancers, their styles of dance, the institutions where
RRT t RTTR RT# t, '•JTR # RIRRTR. -Jrd R# RR pR#, RfRRTTTT,
they work, the academies of dance, books on dance-forms,
RTfRTRT RfRRT# 0,4#d RTf T^j RTRT# tl ##RR # fRTRT
magazines/journals on the subject, may be compiled. This
TRT RTRTRT t. #TR# RfR R*f 3T#f#R RHRTRt ## TRT RTRT# tl
may be an ongoing programme in which additional information
can be noted every year.
13. fR fRR I rIrI RTR! Rletf I 3TTRRR RTR1 T# I #tT SRI I 1^
T# I, Rt fRI RR% RTR STR Rl RSI HR MRR fo^RT RRI ll
♦ c
14. r## g?R I rrT ri# rt! rt# gsr#t' % sm I RflflfR ^r r|Rt
RtR TTTRRI I 3Tfs stsIfRci tl RRt I STRf RR 1RRR gf#RR ##t
1. ‘sst# rtr #' rst # Rgn fr### rt gs#, |, #f rtrrtri
% RRRcT RR TJRRI ll 1250 |TTRt TTR I fklfa R#RT# # Tjl lf|T
RfifafV TO Rif f#RT ll RS #Wi #fr fwr ti -gfefl #f ff#TT
% RIRR R^R Rl giTlf I eft R^, RS RRI RRTt || RR# 3TTRW 3lr
"4 R## ##fR gft % RRI 3# # fTlft 3# TTRT RTT % TTRTR
fRRTRR % tttr rt#t Rif ^idl ti g# rift Rif a#r gi s# I, R## rUr 3#RI RRt gsi#t' Rl f#RR RIT# ll
SIR ## STf tfff I air 31# # RTTtT STTTTleT # RRI 3URdlRK RT 15. RTT#R RTR I RlRl 3RgR#f RTt RSRl RTt RSIRff Rlt RfR RIT#RRI
rrt #RTtr # ttr 3 fin# %n ti
RR # RSftfa RIT# |l fRR I 3RR #3 RR# I f# RS 3TRl R#
2. fRRR TJsa # RlffT RTt ftR, RF 3# f#R# # #R Rfef # TTTR I RRI 3RRRR (RIMSR) RIR T# ll
°RR6K I eTTRT RTTTT 'll Rif# RRT fRg##F Rft gST RT 3## % 16. 3ftfe?TT #' 3#RI ytdHIR RcfRl Rl f##R ^SI3Tf RTt SRTf# ll
3TSJT ‘TRT’ # 3TTRTTT I f#ITf tm I, RST ReTT R ffTT RRT TTTRI ftSR ^|kft giR I %gRI # RFT-Rf# Rl RTJRTIRR R1#R # RR I
S# I 3# RF fRTR# Rif f### fS^TT I gFT I# ll ##R gft # TjRTR RSl R# ll rIrI RTt 3R# SIR It I RI#R RI'rI fR S#RI
TTTR Vl(U % RTT RIT fRRR fRRTRR sfTTT ll RRI ll R# RRI RTR *RIR Hr I f# RTT# TT# RlftT RR RR
#ciRT RRI RfR RT It fTRT ll
3. RTT#R R### RRT# sir 3lfRRR # SRI #RR # TT# RS^Slt' Rtf
3TfR#TT RIT# ll 3#RT gST# I' R## Rlt 3R# Rif# R7t TTR# fR, 17. ?ITT#R TTTflTR, fRRRIeTI, gRf^ell 3ftT RTR I #T Rft RTTRRT Rif
3R# RTR# 3R# RTigRR RF# fR S#RT RTRT I, RS TT# 'sjRR’ ^TRR fRTRT RRI I, R# RRI T# Rlt RTRT3I RT sURTS Rl fRf#R
# RTR 11 RST R## R# I R#Rff gRTT RT# % RTS 3T# 3TTR # 3TRTRI3ff I fRfRR fRTRT RRT ll R#RI# ffRR TJ# RfST, TTTR Rt#
S#R I #STT T# ll SIR T#R R# RT# Tjl # TR RIT RRI RTTgf#R#R RS#R tl TTRR #
R#rf TTRR # RR ?TT# RTTS RflR TTIeT # Rlt# Rlt RSf#R RT# |l
4. RS fRR RR) 3RR 3Tf#TR gST RTl RRlfRT |l R##t 3TR# TTT# # 31#
R#RI R%R # 24 #1 RRT fSR # R#' #t TR5R RSf#R RIT# ll
Rl 3# SJ5# ff ll Rif# fRRR Rl gST I I 3# ##' SIR RtRRTT
Rfl# # ## RT RRI lRfR#tR T# Rlt 3Rgif#qf RRlft R^ ll
Rif gST I RRT-STTf Tt ft fS 11
RRR RTT RRTR RR RR f#R I RRT T# TRWSRT # STRSTf # T#t ll
5. RTTT#R giR I STR-gST# Rif RRT TTT#fcTRT RTRT RTt °RRSR I
18. 3TTRTTT ## Rft RR RST I ^75 RTRST# # # l#Rl RRI # fRRR Rif
cRTRT RTRT I, IrI sRRT RTgl I, Rt Rl«4l, fRRTl, RcffRlt 3fk
ITRT RT TTRTTTT I, # R#RT# # Tjl RfST # RflR RT R# yfdRI#
RTRRI3Tf RTt SlfR^IRR RR RRRft ll R^ Rl%fdRI RTRT It RR
# S## R^ ll
RtRf-RRt%?R3 % 3TfRRR-R^n 3^1 rIrRT RITRTR % 3TfRRR
RfSR-I RftgS^^TJtR^gRT^ ydlRiIrHRi RR?tR ll 19. Rfgft RKd # RRI RgR 3TRf#R #fr RT#R dl£l I sir RS ^THR %
TTTR ig# g| ll RTR: TT# '=JTR-'TT# I RTgft # f#R RST S##
6. fRJ gSIR RRIRRt RT RRtRTRRRT It# I 3^7 RRI RTR r! RRrfl
■RT# ll RST' 1R RST # f#R ST# #k #gf##' # TRTR Rlt RT##RI
# %R RRtR I Rflf RT# ll ^R fRR I RRlfRT RRI RJRvcT^ 3TRRR
fRfRRTTTR ll Rtf# ':JTR # RTg# Rif ‘#Rj’ # RTR # RMI RTTTTT ll
RRTR# RIRf RR RcftRRcRRI ll
#RT f# RR f#R # ft f##T Rif f#RT # TT3 RTT S#RT RRT ll R#
7. H<*-H<lJld RrtRcR RRRRRIRR7 3TR| fRRR Rit RTRRtR '=J?R RTt RfURRI
#RJ # f#R 3RR RST # I, f#TPf RRI TTt# Rfgft Rif f#RTT RT#
RTRT I R# ll IR fRR I It SRRP#t' % HrR # gR# % RRI
# f#R ST# Rif RlftT # 3T# Rif 3# TT3T 'RTRT ll
RRCRR-RRR RRlfRI RRT ||
20. RifTff RTR I Tf#R RT# RIT RS#R g#<+dl #, R#RT# Rif RTgf#ff
8. 3T®I % 3#RI Rdl % 7RR RRI RRRITcRRIR, RRI RR^ Rlt Rg Rl #tR
I # It# Rlt fneldl ll fR fRR I RlffT Rft fT#R # TRR cduii
I RRI ''JR! R7 HS<lcl fR RRlfRI RRI ll Rft RR# # f#R RSI S## Rf ll RfRTT R# RRI^I % f#R S# RTS
9. RRT rIrI R7R-gRI3ff # SIR RRI y^dPdd |tR % SRlt T# ll RR Rft RST Rif RTT R## R|#R RT #3RIT RSf#R RIT# ll
%} # SlfRRR slk ^ RflfRfR RIT RRtRR fRIRT RIRI I RR RR
21. RTT#R RTR # RTR # R'R'TIdl, f#R Rif RR# 3#R! RT# # TTTR
'r|TR-SRR’ 3#RI RRtRITcRRI RR? RR RR RRR RR #RI ll
S#RT 'RTTTT 11 SR f#R # 3RR TTTtJ f#R Rif |TsT TTR# I, # 3TR#
10. RTTRRtR ‘=JRIT yiR)fc1R> RRR Rl RIRRRT # 7RR RftR°f ItRT ll RRI fR7 R^STT RTST# 3|t 3T^RS # RTtRTRRTR ll
RftfRR RSI I rIrI RRI ftnRT R>t fRTRIRt gfe Rlt SRlf Tit 11 'll#! 22. RTR # |#-|RTTT3Tf Rlt 3#RT fR#RTTT3ff RTT # f#RR f#RT RTTTTT ll
% It Utrt % H rI ^rri# Rfl rI s# tI Ii TTR Rif STTRrffr RT STT f#R Rl TTTS STR # RRR f#R S#RT RTTTTT 11
11. rIrI % RTR 3|t SIR STR Rl RSI SRI RRI RTRTT R# Rlt SRlfRI RRI SR fRR # TTR Rlt RRR # RTR fR S#RT RRT ll '
Ii rIrI r# rI sftr RlgiRT 11® Tit I 3lr strI Ht # rI I 23. RSt# RTR #' dRTrRRi TTRR RRRTTRR RR # f###R #eT-RT§TRRT
#R Tit ll SIR RTt RT# ll SR fRR # 3TTR Tf#TTRIlff # RRI TTRS #tT rIrI
12. SJRTT # 3RR RSTJ^ I RIrI RRRf I 3RRRR RSR RIT 3R# 3RR RTt Rlt #§ TTR# ll RTfRl # #sf # RT# RT *RTR #f#i, # f#TS Rif
RRT T# ll RRfRI %t: RR srfRRR RR S#RI I t# RS RR# I# % #ST Rif S#l ll
Utr rtrUr Ii
