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8/3/2019 Remembering the legend: Guru Kelucharan Mohapatra
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Dr. Rohini Dandavate
January 8, 2011
Remembering the legend
Guru Kelucharan Mohapatra
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Fig 1: Guruji’s blessings to me.
Passion, persistence, and perfection are some of the hallmark characteristics of
people who leave an indelible mark in their areas of work. Guru Kelucharan
Mohapatra (Guruji) is one such personality who rose from humble beginnings to
become an unforgettable name in the world of Indian dance.
Growing up in Orissa, all my summers were spent in attending Odissi dance
residencies either in Kala Vikas Kendra or in Guruji’s Gurukul (his house).
Students from all over India attended month long intensive training . Since we
stayed in his house for a prolonged period we got the opportunity to experience
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his teaching process. With each passing year new students enrolled from
different parts of India. Leading institutions like National Center for Performing
Arts (NCPA) in Mumbai, Padatik in Calcutta and Gandharva Mahavidyalaya, in
New Delhi, invited Guruji to conduct similar residencies in Mumbai, Calcutta, and
New Delhi. Later as he gained popularity, he was invited to teach and perform
outside of India and in a span of three decades he earned global recognition.
Art historian Shri Dinanath Pathy in his book “Rethinking Odissi” wrote, “It would
be interesting to understand how Guru Kelucharan Mohapatra became a legend
in his life-time”. In this paper, I address this comment of Shri Pathy by studying
Guruji’s learning process using David Kolb’s theory on experiential learning and
analyze his strengths by using Howard Gardner’s theory of multiple intelligences.
Experiential Learning Process
David A. Kolb, is known for his work in developing the Experiential Learning
Theory with Roger Fry, and is the author of "Experiential Learning: Experience as
the Source of Learning and Development." According to Kolb and Fry, most
people follow a path of experiential learning, which includes four steps: concrete
experience, observation and experience, formation of abstract concepts, andtests in new situations. They argue that the learning cycle can begin at any one
of the four points - it is a continuous spiral. Kolb’s experiential cycle is illustrated
below:
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Figure 2: Kolb’s Four-stage Learning Cycle
Source: http://www.infed.org/biblio/b-explrn.htm
Simply put, it means that people learn by doing. Hands on experience aids in
understanding and making meaning, which is later applied in different situations.Guruji’s learning style fits this model. He preferred akhada training to sitting in a
classroom to acquire knowledge. Akhadas were the gymnasiums where young
boys and men were taught martial arts and dance. Like in Kolb’s model of
experiential learning shown above, Guruji’s learning process was developed
through reflection upon everyday experiences.
His artistic journey began in his early childhood as a young boy in Raghurajpur.
He observed his father painting and playing the khol, and followed that example.
He learned dance from Balabhadra Sahu in the village akhada and participated
in numerous Jatras and in Mohan Sunder Dev Goswami’s Ras Leela
performances. In the Rasleela group, Guruji enacted both male and female roles,
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learned to do makeup, and helped his co-actors in costuming. This hands-on
training helped him to hone his creative and aesthetic talents.
In his early twenties Guruji moved to Cuttack. He further developed his
percussion and choreographic skills through stints at the Annapurna Theatre.
Before becoming a teacher, his journey as a student under various artistic
experts was largely experiential. Through apprenticeships and diverse stints he
developed an expertise in dance, playing the pakhawaj and other percussion
instruments, music, stage management and the art of applying makeup and
costuming. Similar to Kolb’s cycle of learning, Guruji’s process of learning took
him from of experiencing to reflecting, thinking, and then acting. His concrete
childhood experiences lead to observations and reflections in his youth. As a
teacher, dancer and choreographer he assimilated (absorbed and translated) his
experiences into ideas, which he applied in the dance numbers he created. For
example, Photo 1 is the statue of Goddess Durga created for worship during the
festival of Durga Puja. Photo 2 presents how Guruji translated this image in
dance.
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Photo2
Source:http://www.taipeitimes.com/News/feat/archives/2011/09/23/2003513948
Multiple Intelligences
Howard Gardner, a psychologist and professor of neuroscience at Harvard
University, developed the theory of Multiple Intelligences (MI) in 1983, which
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claims that all human beings are intelligent in different areas. In his book
“Frames of Mind," Gardner identifies seven distinct intelligences – he later added
two more—and mentions that all intelligences may not be equally present in
every person. Figure 3 lays out these intelligences and how they manifest in our
ability to perceive and learn.
Intelligence type Capability and Perception
1 Linguistic Words and language
2 Logical-MathematicalLogic and numbers
3 Musical Music, sound, rhythm
4 Bodily-Kinesthetic Body movement control
5 Spatial-Visual Images and space
6 Interpersonal Other people's feelings
7 Intrapersonal Self-awareness
Figure 3: Howard Gardner’s Theory of Multiple Intelligences
Gardner explains:
1. Linguistic Intelligence is the capacity to use language to express ideas
and to understand other people.
2. Logical/Mathematical Intelligence is the capacity to understand the
underlying principles of some kind of causal system, the way a scientist or a
logician does; or to manipulate numbers, quantities, and operations, the way a
mathematician does.
3. Musical Rhythmic Intelligence is the capacity to think in music; to be able
to hear patterns, recognize them, and perhaps manipulate them.
4. Bodily/Kinesthetic Intelligence is the capacity to use your whole body or
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parts of your body (your hands, your fingers, your arms) to solve a problem,
make something, or put on some kind of production.
5. Spatial Intelligence is the ability to represent the spatial world internally in
your mind.
6. Naturalist Intelligence is the ability to discriminate among living things
(plants, animals) and sensitivity to other features of the natural world (clouds,
rock configurations).
7. Intrapersonal Intelligence is having an understanding of yourself;
knowing who you are, what you can do, what you want to do, how you react to
things, which things to avoid, and which things to gravitate toward.
8. Interpersonal Intelligence is the ability to understand other people.
Source: http://www.pbs.org/wnet/gperf/education/ed_mi_overview.html
Gardner's framework helps explain Guruji's strengths. Born into a family of painters, Guruji was genetically predisposed to the arts. His participation and
training in other artistic activities enriched his creative talents. I will further
discuss Guruji's talents in the context of Gardner's theory:
Logical-mathematical intelligence:
Within Guruji’s emotional creative expressions was a hard, mathematical
framework. Incorporation of diverse rhythms, variety of tempos, different
geometrical patterns and the structure of his dance compositions stand testimony
to this fact. His mathematical skill was obvious in the recitation of rhythmic
syllables when accompanying a dancer on the pakhawaj (a percussion
instrument) and other similar percussion instruments. It was also was noticeable
in his floor pattern he etched in the classroom and in his application of the
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traditional chita (designs on dancers' forehead as a part of the face makeup). He
would calculate the dimensions approximately and visualize the squares, lines or
circles he wished to incorporate. While building the roof of his dance classroom,
the grouping of the bamboo sticks and its size and numbers were all sized,
added and tied to the perfect fit. Every task he performed seemed simple but it
was based on a logical deduction, whether it was drawing a floor pattern,
choreographing a dance composition, or applying makeup for his students.
Musical intelligence:
Pundit Bhubaneswar Mishra was the music composer of the reconstructed Odissi
repertoire and Guruji was the dance choreographer. Music was composed prior
to dance choreography. Since Guruji’s father was a khol (kind of drum) player,
his ears were trained in rhythm and recitation of notes from a very young age.
Guruji listened to the spiritual songs and verses sung in the temple in his village
everyday, which also helped him develop an understanding of musical
composition. Besides this training, years of performing in the Jatras (street plays)
and the Ras Leela further developed his sensitivity to melodies and rhythms. He
translated the music composed by Bhubaneshwar Mishra into graceful flowing
dance movements, and the fluidity in movement patterns brought out the musicalelements of the notes reflecting his ingenuity in choreography and deep
understanding of music.
Bodily-kinesthetic intelligence:
Practicing dance was a daily activity for Guruji. Regular practice since his
childhood developed his coordination, balance, dexterity, strength, speed, and
flexibility, expertise in using the entire body to convey emotions and stories.
Much like a writer elicits a response to writing, Guruji engaged his audience
through dance. His sense of timing, fine control of his whole body, and clarity in
his physical action reflected his strong grasp in what Gardner calls bodily-
kinesthetic intelligence.
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Spatial intelligence:
Spatial intelligence is apparent in a many ways. Transforming mental images is a
spatial skill that sculptors, dancers, engineers, architects and designers depend
on. Guruji’s spatial intelligence developed through his curiosity and his power of
observation. He observed shapes, sizes, colors, textures, flow of things in nature
and the ways in which people conducted themselves. His observant eye was
constantly searching for models that could be transformed into stylized dance
movements. His ability to recognize objects, faces, and details helped him
translate it in his dances. The visual in his mind reflected clearly in his dance
choreography, especially in his expressive numbers, while emoting a story or
enacting characters. The songs he danced to were stylized acts from the
everyday life of commoners. In his pure dance numbers, the geometrical patterns
he visualized were brought out through the dance steps, gaits and stylized twirls
and jumps. He explored the space in different levels and the mark of his spatial
ability and innovation is seen in all his choreographic works.
His simplicity, consistent hard work and dedication sprung him to heights. He
never stopped developing and presenting new work. The large body of work he
leaves behind speaks for itself. He earned many honors and accolades but heremained accessible, unassuming and always supportive.
On his 75th birthday celebrations in New Delhi, Shri P.V. Krishnamurthy (PVK),
Vice Chairman, Sangeet Natak Akademi, New Delhi, used succinct words while
recounting Guruji’s most remarkable trait. He wrote:
Ask and thou shalt be given-
This seems to have been Kelu babu’s philosophy,
because he had just to be asked and he gave his
unstinted support in ample measure to any worthwhile
artistic effort.
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His students received his support till his end. Endless hours of rehearsals both in
the class and for programs were his trademark. He worked tirelessly with every
student and never let any error pass unnoticed. He had the gift of bringing out the
best from every student and was extremely open in working on new dance
productions. He was aware that his students were the ambassadors of his art
and he envisioned Odissi dance being performed all over the world. With his
incredible ability to continue learning he became an icon in the field of Odissi
dance. He thrived to give the best both his students and his audiences. He will be
always remembered for his invaluable contribution to the Orissan culture.
References:
Pathy, Dinanath (2007). Rethinking Odissi, New Delhi, Harman Publishing House.
Citaristi, Ileana (2001). The Making of a Guru, New Delhi , Manohar Publishers.
Pradakshina (2001): Tribute to Guru Kelucharan Mohapatra on the 75th Birthday
Celebrations, New Delhi
Websites:
http://www.infed.org/biblio/b-explrn.htmhttp://www.learningandteaching.info/learning/experience.htm
http://www.infed.org/thinkers/gardner.htm