In association with Odisha Tourism Development Corporation Limited, the Odisha Sangeet Natak Akademi organised the Konark Festival of Dance in the first week of December with the serene architectural marvel of the Konark Sun temple in the backdrop. The proscenium stage had the sky for its roof, with the two-day-old waxing crescent and the ever fixed North Star as decor.
Arrangements for seating was well-planned with the cameras positioned in a way so as not to hamper a full view of the dance poses of the temple, brought alive by Odissi dancers.
Madhavi Mudgal, the well known performer-scholar-teacher celebrated the life giving energy of Surya with her presentation of “Surya”, in the graceful and pristine style of Odissi with her group. Surya and Vasant taken from Kalidasa’s “Ritusamhara” describing the advent of spring with its associated imageries and feelings told the story of nritta and bhava in an exquisite manner. Arushi Mudgal was an epitome of grace. The group of dancers gelled exceedingly well in communicating the thematic content of both.
“Vadya Vaividhya” was an abstract piece that experimented with the metres of percussion instruments. The music of Madhup Mudgal facilitated the dance pieces. “Konarak Pratima” by Meera Das and her group took inspiration from the temples of Odisha. The piece brought alive the sculptural pieces on the temple walls of Odisha. The use of Bandha Nritya in it was judicious and marvellous. “Jeebana Sangeeta” was a romantic dance-drama based on “Yatra Sangeeta” of Baikuntha Nath Patnaik conceptualised by Meera Das and Kedar Mishra.
In “Sriranga Charana” Jyotsna Sahoo and group intelligently interwove the formless quality of the Lord who has manifested himself through different avatars that appeared during different yugas. The dancers reverently prostrated at the auspicious foot of the same Lord incarnated in different forms. The umpteenth number of miracles that have happened through the mere touch of his feet were shown. King Bali, and Ahalya receiving salvation just by the touch of Ram’s feet are but two examples.
G.K.C.M. Odissi Research Centre presented the dance ballet “Lavanya” from the works of Kavi Samrat Upendra Bhanja of Riti Yuga. It was story retold in the language of Odissi in a neat production. The Odissi group Surabhi under the direction of Pitambar Biswal took up the theme of Surya Upasana which went off quite well. However, the love and longing of Radha for Krishna though well enacted beautifully by Radha, lost the tempo in the last piece where Krishna tried to appease Radha with the famous lines of Jayadeva “Priye Charusile”. The piece required a great deal of maturity and the ability to emote feelings that would heal Radha.
This great festival of dance would have remained incomplete without the delving into the other gems of classical dance forms of India. On the first day, dance lovers were served with a glimpse of Kuchipudi dance. Jaikishore Mosalikanti conceptualised “Triyambaam”, which was an ode to three principal mythological goddesses of knowledge, prosperity and energy. Mosalikanti’s troupe of excellent performers with Padmavani being the most brilliant of them all, performed “Tarangam” presenting nritta, nrithya and abhinaya in the most admirable way possible. The story of Durga emanating from the aura of Brahma, Vishnu, Maheswara to cause the destruction of Mahishasura was exceptionally told in the Vempati Chinna Satyam Vani. The nrityanatika concept to Kuchipudi was introduced by him. In the story of Mahisasuramardini, the choreographer had used a number of ragas such as the Simhendramadhyamam, Bilahari and Hamsanadam ending with Purvanga Varali in order to introduce “Aigiri Nandini”. Mosalikanti presented Sri Yudbhavam as Vyastha Roopakan or a thematic presentation. Sri or Lakshmi emerges in the last stage of churning the milk ocean and bestows prosperity to her devotees. This piece has been written by Pappu Venugopal Rao. An extremely well presented piece it was lauded by the public.
Mohiniyattam exponent Neena Prasad danced the “Cholkettu” with her group. As the seven dancers descended on the beautiful ambience of the dance area, it seemed as if celestial dancers had descended on earth clad in their gold bordered white costumes dancing “Janutha dhim dhim janutha kita janutha...” This was followed by Sthava Varnam, a composition of Maharaja Swati Tirunal in raag Shankaravarnam. The greatness of Ram is vital to this Varnam and the devotion of the bhakta crowns it. Both Arjuna and Hanuman are humbled by the Lord. Neena excelled in abhinaya and nritta and of course choreography is her forte. Thillana (raga Tilang) in Mohiniyattam style was a great dish savoured with an eager appetite.
A. Lakshminarayan Swamy has carved out a place for himself in the field of Bharatanatyam both as a performer and as a teacher in an area of many a greats. His school Nrityalakdshana has turned out dancers with complete grasp on their subject. Their ability to present the pristine nuances of Bharatanatyam has earned them the praise of connoisseurs and lay people alike. “Pushapanjali” followed by Dayanand Saraswathi’s “Bho Shambho” by his students clad in earth colour costumes, evoked aesthetic pleasure. The story of Shiva was tellingly told. Lalitalavangalata proved his excellence in choreographing abhinaya pieces. Priya Venkataraman in the role of Radha was an epitome of grace. Dancers in the role of river Yamuna with Radha there was a pleasing sight.
Clarity of footwork and the brilliance of speed marks the work of Ashimbandhu who has been trained in Kathak by great names of both the Jaipur and Lucknow gharana. His presentation in the festival was Parikrama. Life is made up of various journeys. When one journey ends another begins. As for example scenes from Krishna Leela depicted different cycles of his journey. That the journeys of life are preordained was beautifully shown by the discerning choreographer. The techniques of Kathak could never have been better used.
Well-known Manipuri dancer Priti Patel is a creative choreographer. She has something new to show each time her well-trained troupe is presented. Here she presented “Anantashakti-Leishem Kanglon”. The never-ending story of creation was uniquely showcased through her presentation along with the strong cultural currents that flow through this beautiful land. In this magnificent creation the truth is that there is Creation, Preservation and Destruction. Priti presented the story of Creation through “Lai Haraoba”, which is a ritualistic dance form. What comes out most significantly is the quest of the individual soul for the absolute. She showed through the dynamic choreography of Thang Ta destruction, which signifies annihilation. That Creation and Destruction are not the only truth that one must know was beautifully presented through stylised Manipuri dance. Preservation was depicted through Rasleela. The presentation was spectacular enhanced by music from the typical instruments of the pung and the pena. Every bit of the presentation was breathtaking.
