The Oriya Abhinaya song "Bibhusana Puspe" is a poem by the 17th century Orissa poet Kavi Samrat Upendra Bhanjha, depicting Princess Sita beautifully adorning herself for her wedding ceremony. The song seems to have been composed by the poet himself, following the chanda format of Odissi music, and sung by the people in Orissa. The choreography was created by Guru Kelucharan Mohapatra, likely around 1970 or earlier. This is because Kumkum Lal, one of Guru Kelucharan’s early disciples in Delhi, performed this piece at her mancha pravesh (debut performance) in 1971. The song description below is from Kumkum Lal’s performance pamphlet from that time.
For some reason, this item has not been performed much since then. In 2020, during the COVID-19 pandemic while I was confined at home, a film of Guru Kelucharan Mohapatra’s performance was released on YouTube by Smt. Sharon Lowen. Guru Kelucharan Mohapapatra’s depiction of Princess Sita, filled with his deepest bhakti, set to a sweet Orissa specific melody. This performance was so magnificent, that it made me want to dance it. Thus began my journey with “Bibhasana Puspe.”
First, it took a significant amount of time to understand the meaning of the poem. As always, my teacher, Visnu Guruji generously taught me. However, I also received help with translations from my Oriya dance friend over the phone as well. The poem has unique double and triple layers of meaning, and unraveling these and interpreting the meanings through Kelucharan Guruji’s choreography required a distinctive approach. Since we are not familiar with the lives of ancient Oriya people, it is challenging to grasp the unspoken meanings. We strived to interpret the meanings Kelcharan Guruji depicted in the the space through his choreography. Spending time firsthandedly with the poem was highly enjoyable, expanding my imagination until the emotions of the poem reached my heart, and I could feel the sentiment and the mood.
Then I started working on the choreography. I was extremely fortunate to have a videotape of the guru dancing for reference, as well as a guru of abhinaya nearby. However, it took a considerable amount of time to memorize this 20-minute long piece. I re-evaluated my life to prioritize dance. During this time. Vishnu Guruji gathered musician friends and recorded a new audio material in Mumbai.
Even so, due to daily classes and preparing for performances, I still had to learn other pieces and could not find the time to focus on “Bibhusana,” and time was running out. And my physical strength is limited as well. It felt like “Bibhusana” was a lover that I could not meet. However, late last year, an opportunity for a solo performance ―one that I could use my time freely― presented itself. Still, another significant challenge arose; despite having the guru’s videotapes, a teacher close at hand to seek guidance, a new audio track, improved health, and even an opportunity to perform, I was hesitant to perform. I needed to cultivate the courage to become a soloist. After realizing this ―finally in my third year of learning “Bibhasana”― I was able to perform it.
I deeply appreciate this item coming into my life, it changed how I relate to items. Songs are almost like living beings. And I believe the process of a dancer is building an intimate relationship with an item and that is the most precious thing about dancing. These items want to be danced to, regardless of whether the dancer is skilled or not. It truly seems that the items choose the dancer. So I just let it happen. People from Orissa might say, “it is guru kripa” (the grace of the guru.) Here is "Vibhusana Puspe" (a chanda piece from "Baidehisha Bilasa").
オーリヤ語のアビナヤ曲「ビブサナ プスペ」は、17世紀のオリッサの詩人、カヴィ ウペンドラ バンジャ詩聖が、「ラーマヤーナ」のシータ姫が結婚の儀式に臨むために美しく装う様子を描いた詩篇です。この曲はオディッシー音楽のチャンダ形式に則って、詩人自らが作曲し、歌い継がれてきたようです。踊りの振り付けを創ったのはグル ケルチャラン モハパトラ。おそらく1970年かそれ以前のことだったのではないでしょうか。なぜなら、ケルチャラン師匠の初期の弟子の一人、デリーのクムクム ラール先生がご自分のマンチャプラベーシュ（デビュー公演）でこの曲を1971年に踊ったからです。下にある曲の説明文は、当時のクムクム先生の公演パンフレットのものです。
その後、どういうわけかこの曲はあまり踊られてこなかったようです。2020年、コロナウィルスのパンデミックで私が自宅に蟄居していたころ、ケルチャラン師匠が踊ったフィルムが、シャロン ローウェン女史によってYouTubeに発表されました。甘いオリッサ独特のメロディにのせて、バクティ溢れるケルチャラングルジーがシータ姫の姿を空間に描きあげるこの作品が、あまりにも素晴らしくて、私はこの曲を踊りたいと思いました。それから私のビブサナプスペとの旅路が始まりました。
まずは詩の意味を知ることに大変な時間がかかりました。いつものように私が師事しているヴィシュヌーグルジーが惜しみなく教えてくれました。オリヤー人ダンサーの友人にも電話で何回も翻訳を手伝ってもらいました。詩の世界には独特の二重三重の意味があって、それらを紐解き、ケルチャラングルジーの振り付けから意味を見てとる作業は独特のアプローチとなりました。つまり、昔のオリヤーの生活を知らない私たちは、語られていない意味をなかなか知ることができません。それをケルチャラングルジーが空間に描いていることを読み取り、意味を汲み取るように努めました。詩と親密になっていく時間は大変楽しく、想像がふくらみ、次第に詩が心に届き、詩の情緒を感じることができるようになっていきました。
それから振り付けにとりかかりました。巨匠のビデオが残っているという大幸運と、身近にアビナヤに長けた師匠がいる私は、たいへん恵まれいます。しかし、20分もある大曲を覚えるためには、たいへんな時間がかかりました。私は踊り優先に生活を見直しました。その間に、ヴィシュヌーグルジーは音楽家仲間を集め、ムンバイで新しい音源を録音しました。
それでも日々のクラスや公演の準備のために、ほかの曲を覚えなければならなくて、なかなか「ビブサナ」と向き合う時間が取れず、時間は過ぎていきます。私の体力はとても限られています。「ビブサナ」と私は会えない恋人のようになっていきました。しかし昨年暮れ、自由に時間を使うことのできるソロ公演の機会が訪れました。私はもう一つの大きな障害と向き合いました。巨匠のビデオもある、身近かに教えを乞うことができる師匠もいる、意味の理解も手伝ってもらった、新しい音源もできた、健康状態も良くなった、発表の機会までもらった。天に踊りなさいと言われているのに、私は尻込みしていたのです。ソリストとしての度胸を養うことが必要だったのです。そのことに気づき、３年目にして私は「ビブサナ」としっかり向き合って発表することとなったのです。
この曲が人生に訪れたおかげで、曲との付き合い方が変わりました。曲はまるで生き物のようです。私はダンサーが曲と親密になっていく過程が大切なのだと思います。またとても楽しいのです。曲は、ダンサーが上手かろうと、下手だろうと踊られたがっているのです。そして、本当に曲がダンサーを選ぶようです。だから私は、起きることに身を任せているだけなのです。オリッサの人なら「グルクリパ」（グルの恩寵）と言うでしょうね。「ビブサナ プスペ」（“Baidehisha Bilasa”よりチャンダ曲）をご紹介します。
[Song Description from Srm. Kumkum Laal]
Bibhushana Pushpe: A descriptive verse in Oriya by Kavi Samrat Upendra Bhanjha (The 17th Century Oriya poet-composer of Odissi classical music), on Sita being dressed and adorned before the wedding ceremony.
Ek-shloki Ramayana in Sri Ramacaritamanasa
Who has complexion and softness like that of a blue lotus,
whose body parts are very soft.
On whose left side resides his dear consort Sita.
Who has a divine arrow and a beautiful bow in His hands,
I pray to that Shri Rama who is the Lord of Raghu dynasty.
Vaidehisa Vilas Bibhushana Pushpe
“Bring in the maiden whose beauty is lustrous like that of the Vibhushan flower (a flower that shines without being ornamental). There is no need to adorn her. When she crosses the threshold thus, she would bring joy to Rama’s heart.” These words uttered by Vishvamitra were fragrantly cool like sandalwood paste for Rama, Prince of Raghu’s dynasty.
The attendants responsible for dressing her began to decorate her in various colors. With special care they show her the looking glass in which she sees her reflection. She whose lips are like the bimba fruit, hardly requires any cosmetics. And with the maid servants untied her tresses the brilliance of her bejeweled hair so dazzled then that they wondered if the sun in the heaven got all its brightness from her.
The attendants made the parting in the center of her hair so that at the wedding ceremony at the bride-groom might put the sindoor in the parting. The dark tresses are like the demon Ketu and the red thread with which they are tied like the Sun’s rays. The Ketu in the grip of the Sun is being forced to bring forth, out of fear, the nectar that he had stealthily drunk and that is none other than the bakul flowers in the braid of her hair.
When like the swan she moves forward, the trinkets in her feet jingle. That mysterious music tells Rama the direction in which his beloved is moving. The rise and fall of the sounds of large and tiny trinkets, announce to Rama’s ears the arrival of his beloved.
Her feet’s natural hue excels the red color of the alta. Her feet appears like the lotus in the Saraswati river. She dresses in garments of the color green like the fresh green Durba Grass which matched the color of Rama’s complexion.
Decked out in gold and jewelry her beauty shines even more. The dark collyrium and musk are like the night, and her face is like the moon rising in the heavens.
Poetry and music: Kavi Samrat Upendra Bhanjha
Original dance choreography: Padmavibhushan Guru Kelucharan Mohapatra
Artistic direction: Guru Sri Vishnu Tattva Das
Raag for the sloka: jhinjhoti
Bibhushana Pushpe is a chanda style Odissi music so it has no raga. However it is set in a tune rasakulya.
Taal: Triputa (7 matra)