Pūrva Samīra program notes
1 Mangalacharan
Mangalacharan is an invocatory dance item in which the dancer starts
with "Pushpanjali”, an offering of flowers to Lord Jagannath, the Lord of
the Universe, is the presiding deity of Odissi dance and the dancers ask
for his blessing for an auspicious start. This is followed by "Bhumi -
Pranam”, salutations to Mother Earth to seek her forgiveness and
blessings to commence the dance. Today’s Mangalacharan is a prayer to
Lord Ganesh:
I bow down to you, Ganesh - Vignaraj,
Who destroys all obstacles sitting beneath a wish-ful?illing tree,
You are son of Uma and Shiva
with a big form and tusks,
and also great dancer like Shiva your father
I meditate on you, who is like the wish-ful?illing gem,
who bestows pure intelligence always to all.
The dancers then conclude the mangalacharan with a ”Trikhandi
Pranam" or the three fold salutations.
1. above the head to the Gods in heaven,
2. in front of the forehead to the Guru, and
3. in front of the chest to the respected audience.
Dance choreography: Padmavibhushan Guru Kelucharan Mohapatra
Music composition: Pandit Bhubaneshwar Mishra
Taala: Ektal (4 beats)
Raaga: Raga Kalyan
Dancers: Ayako Sakina, Sachiko Murakami, Yukie Satto, Kaori Naka, Haruko Tanaka
2 Arabi pallavi
Pallavi means "elaboration" or "blossoming".
In this context, it applies not only to the dance but also to the accompanying music. The movements are graceful and lyrical, and the choreography highlights nritta or pure dance, through a tapestry of intricate and interwoven rhythmic patterns, presenting a beauty that is both structured and expressive.
The chosen Raaga – Arabhi – is one of the ancient melodic modes in Carnatic music, known for evoking the Veera Rasa, the sentiment of heroism and courage. While it carries strength and vitality, Arabhi also allows for lyrical fluidity, making it a perfect match for the unfolding of Pallavi. The interplay between melody and movement creates a dynamic expression that captivates the audience.
Raaga: Arabhi
Taala: Chaturasra Ekatali
Dance choreography: Padmavibhushan Guru Kelucharan Mohapatra
Music composition: Pandit Bhubaneswar Mishra
Dancer: Yukie Satto
Pallavi（パッラヴィ）とは、「展開」を意味します。
ここでは、舞踊だけでなく、それに伴う音楽にも当てはまる言葉です。動きは非常に優雅で抒情的であり、純粋な舞踊に重点を置いた、極めて複雑で織り交ぜられたリズムパターンの中に、独特の美しさが際立っています。
この作品で用いられているラーガ・アラビは、古代から伝わる南インドの旋律で、力強さと勇気を象徴する「ヴィーラ・ラサ」を喚起するラーガとして知られています。その旋律は、勇壮さの中にしなやかな抒情性も併せ持ち、舞踊と絶妙に調和します。音楽と動きの展開が一体となり、観客の心を深く揺さぶるのです。
3 Sivastak
Shivastak is a devotional hymn of eight verses in the glory of Lord Shiva.
It praises the one and only Mahadeva ―
Who wears the crescent moon and the snake as ornaments,
Who holds a skull and a trident in His hands,
Who creates and destroys the universe without beginning or end,
Who removes the deepest attachments,
Who destroys the greatest sins,
And who is the Lord of all beings.
I bow down to Him and pray for eternal peace for everyone.
Raaga: Vairabi
Taala: Ektali
Dance choreography: Guru Dabaprasad Das
Sloka: Shankara Chariya
Dancer: Kaori Naka
シヴァスタック
シヴァ神を讃える八詩頌の祈りの歌です。
三日月と蛇を飾りとし、 頭蓋骨と三叉の槍を手に持ち、
始まりも終わりもなく宇宙を創造し破壊し続ける。
執着を取り除き、最も大きな罪をも滅ぼす、すべての存在の主、
偉大なるマハーデーヴァを讃えます。
わたしはあなたにひれ伏し、
すべての人々の永遠の平安を祈ります。
4 Bibhusana 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 Śrī Rāmacaritamānasa -
Rama, who has complexion and softness like that of a blue lotus.
Rama, who has complexion and softness like that of a blue lotus.
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.
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 raaga. However it is set in a tune rasakulya.
Taal: Triputa (7 matra)
Dancer: Haruko Tanaka
5 Nava Durga
Nava Durga celebrates the nine divine forms of Goddess Durga, the fierce and victorious mother goddess. The verses are drawn from the Shree Bhagavati Stotram, composed by the sage Maharshi Vyasa.
When the demon king Mahishasura defeated the gods and seized control of the heavens, the gods united their powers in fury, and from the divine fire arose Goddess Durga. She battled Mahishasura, who changed forms in an attempt to escape, and ultimately destroyed him.
This piece depicts her power, grace, and the sacred beauty of her nine aspects.
Raaga: Vairavi
Taala: Jati
Dance choreography: Late Guru Pankaj Charan Das
Dancer: Sachiko Murakami
ナヴァ・ドゥルガー
「ナヴァ・ドゥルガー」とは、戦いと勝利の女神ドゥルガーの9つの姿を称える作品です。詩句は聖者ヴィヤーサによる『シュリー・バガヴァティ・ストートラム』から引用されています。
神々が悪の軍勢に敗れ、魔王マヒシャースラが天界を占領したとき、その怒りの力が結集され、炎の中から女神ドゥルガーが誕生しました。彼女は、変幻自在に姿を変えるマヒシャースラと壮絶な戦いを繰り広げ、ついに打ち倒します。
この舞踊は、女神の力強さと神聖さ、そして9つの神性の顕現を、美しく荘厳に描き出します。
6 Yahimadhava
This is the 17th ashtapadi from Jayadev's Gita-Govindam portraying Radha as Khandita Nayika or a cheated-upon heroin.
Be off, Krishna, better harp not on beguiler's lingo... leave me alone...
Your lotusy eyes, ever-buoyant and expressive of your desultory indulgences, are now winking weakly indicating your unsleeping; further they are doubly reddened, by nightlong waking and by the lipstick's colour of your lover, clearly bearing the mark of your curiousness about her... ergo tag along her who makes you woeless... why me... oh, boy, oh boy...
Now matching is the glow of your lips with the blueblack colour of your body for the mascara on your love's eyes seems splodged on them when you kissed her... enough of it... be off... Krishna...
Your heart seems definitely grimier than your begrimed body, if not how come you let down your own admirers, agonised in the lovefever caused by Love-god's arrows? Be off, Krishna...
Raaga: Mishra Bairavi
Taala: Yatitaal（Jatitaal）
Dance choreography: Padmavibhushan Guru Kelucharan Mohapatra
Music composition: Pandit Bhubaneswar Mishra
Dancer: Ayako Sakina
ヤヒマーダヴァ
ギータゴーヴィンダ 第８章 17番目の歌
ハリ・マーダヴァの訪れに心を躍らせながら待ち侘びるラーダーの気持ちを裏切るように、彼は夜が明けるまで来なかった。月も西に沈んだ頃ようやく現れたクリシュナの顔と体には、別の女性と愛し合った痕跡がありありと残っていた。一晩寝ていない目は赤く充血し、紅い唇は黒いカジャール（目の化粧）で汚れ、エメラルドのような胸には愛爪の跡が。おお、ハリハリ、どうぞその美しい女性のところに行ってください、あなたの来るところはここじゃありません！
ギータゴーヴィンダ 第８章 17番目の歌
ハリ・マーダヴァの訪れに心を躍らせながら待ち侘びるラーダーの気持ちを裏切るように、彼は夜が明けるまで来なかった。月も西に沈んだ頃ようやく現れたクリシュナの顔と体には、別の女性と愛し合った痕跡がありありと残っていた。一晩寝ていない目は赤く充血し、紅い唇は黒いカジャール（目の化粧）で汚れ、エメラルドのような胸には愛爪の跡が。おお、ハリハリ、どうぞその美しい女性のところに行ってください、あなたの来るところはここじゃありません！
7 Moksha
Moksha is the concluding piece of the Odissi dance repertoire.
“Moksha” means Liberation. Liberation from material existence and
physical bondage leads to spiritual awareness. The dancer elevates him
or herself to a state of ecstasy, fulfillment and bliss. A fast paced dance
of ecstasy is followed by an invocatory prayer in Sanskrit for universal
peace and harmony.
“Sarve Bhavantu Sukhinah”
May all be happy.
May all be free from illness and live in peace.
May auspiciousness come to all, and may no one suffer.
With this prayer in our hearts,
we offer our dance.
Dance Choreography: Padmavibhushan Guru Kelucharan Mohapatra
Music Composition: Pandit Bhubaneshwar Mishra
Taala: Ek taal
Raaga: Bhairavi
Dancers: Ayako Sakina, Sachiko Murakami, Yukie Satto, Kaori Naka, Haruko Tanaka
幸せでありますように、
病なく、穏やかでありますように、
良きことが訪れ、誰ひとりとして苦しみませんように
この祈りを込めて、舞を捧げます
Profiles
Ayako Sakina
Born in Kyoto. Studied in fine art from the age of 6 and onword. In the late of 1970's met Odissi dance, and flew over to Bhubaneswar,india. Took the first training under the guidance of smt. Bidyut Chaudhury of Utkal Sangeet Mahavidyalaya. After returning from Odisha, participate to smt. Kumkum Lal's class in Tokyo.
As the children growns ,began to go to India again, and learned from Guru Kalucharan Mohapatra, Guru Harekrishna Behera, as well as other Odissi exponents. Her current guru is Smt. Kumkum Lal.
Now as the Fukuoka, Japan based Odissi dancer/teacher, presides over "Studio Maa Odissi Indian Dance" and coaching dancers, producing stages, and so.
サキーナ彩子
京都出身、福岡在住のオディッシーダンサー。20代の初めにインド舞踊に出会い、古典、民族舞踊を習い始める。1981年、当時まだ珍しかったOdissiを習うべく、東インドオリッサ、ブバネシュワールに単身渡り、Utkal Sangeet Mahavidyalayaの講師ビドュット・チョードリー師に住み込みでオディッシーの基礎と曲を習う。その後クムクム・ラル、グル・ハレクリシュナ・べヘラ、グル・ケルチャラン・モハーパトラ等に教えを受ける。1986年に福岡に移住し、スタジオ・マー・インド古典舞踊教室を開講、公演活動などを通してオディッシーダンスとインドの文化の普及につとめる。
Sachiko Murakami
Dance as Prayer — Living the Rhythm of Life
Based in Osaka, she is an Odissi dancer known as a passionate performer, a dedicated teacher, and a cultural bridge between Japan and India. For her, dance is more than an art form—it is a prayer, a resonance of the soul, and a way of life.
She studied classical ballet for nine years from childhood, and later explored jazz, modern dance, and Balinese dance, always seeking expressions that touched the depths of the human heart. In 1993, she began her Odissi journey under Saeko Hamada, drawn to the fluid movements and profound spirituality of Odissi—a turning point in her life.
From 1997, she undertook short-term study in the United States, training under Ratna Roy, a preserver of the Mahari tradition. In 1999, she made her Ranga Pravesh (solo debut) in Seattle. From 2000, she trained at the prestigious Orissa Dance Academy in Odisha, India, studying under Rojalin Mohapatra under the guidance of Guru Gangadhar Pradhan. She continues her training to this day.
In 2004, she founded her own dance group, Padminii Kulam, nurturing numerous students and presenting performances and cultural exchange programs in Japan and abroad. In 2015, she established the Odissi Dance Centre (ODC) in Osaka, sharing the beauty of Indian culture and dance with audiences across Japan.
At Expo 2025 Osaka–Kansai, she has performed Odissi at the India Pavilion and various stages throughout the venue. She also organized and presented Japan’s first-ever Odissi Dance Festival in her hometown.
For her, Odissi is not merely a dance—it is a journey of the soul and a sacred part of daily life. Each grounded step, each deliberate gaze, becomes a quiet yet powerful prayer that resonates out into the world.
村上幸子
踊りは祈り、人生のリズムを生きる。
大阪を拠点に活動するオリッシーダンサー。情熱的な表現者であり、献身的な指導者、そして日本とインドをつなぐ文化の架け橋として広く知られている。彼女にとって踊りは、芸術を超えた「祈り」であり、「魂の響き」であり、「生き方」そのものである。
幼少期より9年間クラシックバレエを学び、その後ジャズ、モダン、バリ舞踊など多様な舞踊に親しみながら、常に心の奥深くに届く表現を探し求めてきた。1993年、浜田さえ子氏のもとでオリッシーを始め、オリッシーのしなやかな動きと深い精神性に魅了され、人生の転機を迎える。
1997年からはアメリカでの短期留学を重ね、Mahariスタイルの継承者であるRatna Roy氏のもとで研鑽を積む。1999年、シアトルにてRanga Pravesh（ソロ・デビュー）を果たし、2000年からインド・オディッシャ州の名門Orissa Dance Academyにて、Guru Gangadhar Pradhan氏の指導のもとRojalin Mohapatra氏に師事。現在もRojalin Mohapatra氏のもとで学びを深めている。
2004年、自身のダンスグループPadminii Kulamを主宰し、多くの門下生を育成。国内外での舞台公演や文化交流活動を精力的に展開する。2015年には大阪にOdissi Dance Centre（ODC）を設立し、インド文化と舞踊の魅力を広く伝えている。
2025年大阪・関西万博ではIndia Pavilionおよび会場各ステージでオリッシーを披露。さらに、日本初となるOdissi Dance Festivalを地元で開催。
オリッシーは、彼女にとって単なる舞踊ではない。それは魂の旅であり、神聖な日々の営みである。一歩ごとの重み、ひとつひとつのまなざしが、静かで力強い「祈り」となって、世界へと響き渡っていく。
Yukie Satto
Founder of Yukie indian dance company Sampatti. Yukie indian dance company Sampatti was founded in 2008 by Yukie Satto. Yukie started ballet at age 3 and was a national-level rhythmic gymnast. Struck by lightning in her heart upon seeing Odissi in 1998, she began formal training in 2002. In 2008, she joined the renowned SRJAN company in Odisha, India, studying under Guru Ratikant and Guru Sujata Mohapatra. Now based in Japan, she teaches and performs Odissi and Bollywood dance, continuing to share the grace of Indian arts with the world.
2011 INTERNATIONAL DANCE DAY PURSKAR2011 UNESCO "AWARD" (BISYAKAPATTNAM, India)
2012 CUTTACK MAHOTSAV “NRITYA SHIROMANI” AWARD
2015 CUTTACK MAHOTSAV “NRITYA SHIROMANI”AWARD DECISION
2018 SRI JAYADEV RASTRIYA SAMAROH & NAVEEN KALAKAR “PADMAVATI INTERNATIONAL AWARD”
2021 UNIVERSAL DEVELOPMENT COUNCIL “HONORARY DOCTORATE IN THE CATEGORY OF FINE ARTS” AWARD
佐藤幸恵
2008年にYukie indian dance company Sampattiを設立。3歳からバレエを始め、全国レベルの新体操選手として活躍。1998年にオディッシーを見た瞬間、心を打たれ、2002年から本格的なトレーニングを開始。2008年、インド、オディシャ州の有名なSRJANカンパニーに入団し、ラティカント・モハパトラ師とスジャータ・モハパトラ師に師事。現在は日本を拠点に、オディッシーとボリウッドダンスの指導と公演を行い、インド芸術の優美さを世界に伝え続けている。
Kaori Naka
From Japan, Kaori Naka is a dedicated and dynamic practitioner of the Guru Debaprasad Das parampara of Odissi. For over two decades, she has pursued her sadhana under the guidance of Guru Jyoti Srivastava in Noida and Guru Gajendra Kumar Panda in Odisha, ever in search of the true heart of Odissi.
Specializing in installation and communication art, Kaori has also studied Butoh, Yoga, and expressive art therapy. In addition, Kaori is fascinated by animism and other forms of Asian dance.
Holding a Master degree in Arts & Education, she first trained at Chitrelekha Dance Academy in Canada. Thanks to a generous scholarship from the Indian Council for Cultural Relations, she was given the opportunity to study fundamental Odissi in Delhi under Guru Kavita Dwibedi. She later moved to Odisha to immerse herself in the Debaprasad Das style under Guru Gajendra Kumar Panda. After years of intensive training, she made Delhi her home, founding “Debadhara Yoga & Odissi” in Japan & Delhi (http://www.debadhara.com) in both Japan and Delhi, envisioned as a space for sadhana, teaching and cultural exchange.
Having performed at both the national and international level (India, Taiwan, Singapore, Malaysia etc.)
Notable appearances include a sacred offering at the UNESCO world heritage site Gango-ji Temple in Nara, Japan, also she has also graced India’s national television, live on Doordarshan DD morning show (2024)
仲香織
インド、デリーへ移住して15年以上。2004年から野中ミキ師の元、踊りを始め、2006年に、インド政府奨学生（ICCR）として渡印。その後、オリッサにて、Guru Gajendra Kumar Pandaに師事し、デバプラサッドダスの踊りを学ぶ。現在は、ノイダにて、Guru Jyoti Srivastavaの元、さらなる知識や技術の研鑽を続けている。
2009年Debadhara Yoga & Odissi（www.debadhara.com）を設立。インド全土をはじめ、マレーシア、シンガポール、台湾、奈良、世界遺産元興寺での奉納公演、さらには、インドの国営放送に生出演など精力的に活動している。
Haruko Tanaka
Born and raised in Tokyo, Japan. Haruko is an Odissi dancer and writer based in San Francisco, U.S.A.. Obtained a Master's degree of Arts in Religious Studies specializing in the Eastern Philosophy from the University of Colorado. She started her Odissi training with Smt. Asako Takami; and after her passing, with Guru Sri Vishnu Tattva Das. Haruko has also learned from Smt. Kumkum Lal and Smt. Niharika Mohanty. Haruko’s literary works include Memories of India and Odissi Dance: Odissi Dancer Asako Takami (2019), the Japanese translation of The Making of a Guru: KELUCHARAN MOHAPATRA His Life and Times, by Ileana Citaristi (2021), and more. Haruko received "Kala Vicarana" award at "Margazhi in San Francisco" from National Ethnic Arts INC. in 2023.
東京出身、米国サンフランシスコ郊外在住。オディッシー インド古典舞踊家、文筆家。コロラド大学宗教学科修士課程修了。晩年の高見麻子氏、高見が他界したあとはヴィシュヌー・タッタヴァ・ダス師に師事。高見から受け継いだ「パラヴィ・ダンスグループ」主宰。クムクム・ラール氏、ニハリカ・モハンティ氏にも手解きを受ける。著書訳書：『インド回想記ーオディッシーダンサー 高見麻子』（七月堂、2019）、『オディッシー インド古典舞踊の祖 グル ケルチャラン モハパトラ』（イリアナ チタリスティ著、田中晴子訳、2021）