Remembering the legend

Guru Kelucharan Mohapatra

Dr. Rohini Dandavate January 8, 2011

Fig 1: Gurujis 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 Gurujis 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

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 Gurujis learning process using David Kolbs theory on experiential learning and analyze his strengths by using Howard Gardners 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, and tests in new situations. They argue that the learning cycle can begin at any one of the four points - it is a continuous spiral. Kolbs experiential cycle is illustrated below:

Figure 2: Kolbs 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. Gurujis 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 Kolbs model of experiential learning shown above, Gurujis 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 Goswamis Ras Leela performances. In the Rasleela group, Guruji enacted both male and female roles,

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 Kolbs cycle of learning, Gurujis 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.

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

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 moreand 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 1 2 3 4 5 6 7 Linguistic Capability and Perception Words and language

Logical-Mathematical Logic and numbers Musical Bodily-Kinesthetic Spatial-Visual Interpersonal Intrapersonal Music, sound, rhythm Body movement control Images and space Other people's feelings Self-awareness

Figure 3: Howard Gardners 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

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 Gurujis 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

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 Gurujis 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 musical elements 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 bodilykinesthetic intelligence.

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. Gurujis 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 he remained 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 Gurujis most remarkable trait. He wrote: Ask and thou shalt be givenThis seems to have been Kelu babus philosophy, because he had just to be asked and he gave his unstinted support in ample measure to any worthwhile artistic effort.

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.htm http://www.learningandteaching.info/learning/experience.htm http://www.infed.org/thinkers/gardner.htm