SEARCH

Friday Review » Dance

Updated: July 14, 2011 19:25 IST

Enchanting movements

PRABAL GUPTA
print   ·   T  T  
Spellbound Grace personified
Spellbound Grace personified

Madhulita Mohapatra dealt with a gamut of emotions in her Odissi recital

The Whitefield Dance and Music festival commemorating the Guru Poornima celebrations showcased a beautiful Odissi recital by Madhulita Mohapatra, disciple of late Guru Padmashree Gangadhar Pradhan and presently continuing her advanced studies in Odissi under guru Aruna Mohanty. The performance definitely spoke of her perseverance as a dancer, with a marked improvement in her dance execution as compared to what this aficionado witnessed a couple of years back.

Madhulita commenced her recital with the “Tam ham ta ri jhae na” pallavi set to raga Kirvani in taal Khemta. This lyrical pure dance number starts in slow tempo with the speed gradually building up towards the climax of the piece. Intricate in its exposition, Madhulita proved her assiduous training in this complex nritta aspect of the form. Neat chowks and tribhangis added aesthetics to her performance. The correct execution of the pallavi with clear demarcation of the Agra and prastha chala, a congruous element of Odissi with neat footwork, precisely matching the swara “ta ham ta Tehn” called for perfection. The graceful lilting of her upper torso continued shifting through an enchanting rhythmic phrase. The ‘S' curve as created during the asymmetrical tribhangi and the charis proved the dancer's hold on the minute nritta technicalities. The movements in Kunchita pada during “ta jhena naa” deserves applause.

The “Madhurastakam” initially choreographed by Adi Guru Pankaj Charan Das and later re-choreographed by Aruna Mohanty followed with “Manini” portraying Radha in anguish proved Madhulita's grit over abhinaya. The Madhurastakam begins with “Nayana Madhura, Hasitam Madhura” with Yashoda cajoling baby Krishna and trying to respite him to sleep. Playing with Krishna as Yashoda as a sanchari spoke of choreographer's brilliance and executing the same with fervour marked the dancer's perseverance. Usage of srikhol aggrandised the overall effect.

The “Karunam Madhura” portrayed the Gopikas pleading Krishna to return their clothes. The circular movements and then perpendicular to the proscenium during the Kaliya Mardana episode marks the dancer's brilliance in using the stage geometry. However, the piece de resistance of the evening was “Manini”, portraying Radha as a Vasaka Sajjita Nayika beautifying herself for Lord Krishna. But as she waits for him, she falls asleep. “Kahae Kae naa aelae moro” portrays the nayika in distress.

Her transformation from shringara to virahotkhandita nayika was mesmerizing, and left the audience spellbound.

The Hindu presents the all-new Young World
S Sowmya will answer your questions in the first 'Ask the Artist' column

Ask the artist

Have a question for your favourite artist? Here's how you can get them to answer it. »

O
P
E
N

close

Recent Article in Dance

Bharatanatyam by Akila

Of bhakti and bhava

Akhila Kovvuri, an 18-year-old disciple of guru Hemamalini Arni gave a Bharatanatyam performance last week at Telugu University Auditoriu... »