The young Odissi Guru Binayak Panda is is striving to prevent the gharana of legendary Guru Debaprasad Das from fading into oblivion by training and promoting Das’s unique style through his organisation Debadhara-Delhi.
Binayak , the disciple of Guru Gajendra Panda, as a tribute to Guru Debaprasad Das has also instituted the “Debadhara Award” given annually to distinguished at the festival of Indian Dance Forms. The third edition of the award ceremony was followed by a two-day festival organised at the India International Centre, New Delhi.
The inaugural evening began with Vishnu Vandana, an invocation by the students of Debadhara-Delhi in Pahari raga, choreographed by Guru Gajendra Panda followed by the award ceremony. The awardees on the first evening were Bidushi Sasmita Pal (Singapore), Padmashri Bharati Shivaji, Padmashri Geeta Mahalik, Guru Jayalakshmi Eshwar and Guru Ranjumoni Saikia. Even though Sasmita Pal’s Shivashtakam “Vande Shambhu Umapatim” did not create much impression, Bharati Shivaji’s invocation of “Bala Ganapati” was a triumph in Mohiniyattam, depicting the dalliance of Shiva and Parvati in the forest as elephants with baby Ganesh. The Ashtapadi “Rati sukha sarey” in raga Malika, Adi tala embracing the Sopana Sangeetam unfurled the subtleties and nuances of the beautiful verses with the lyricism of exquisite movements and soul-stirring abhinaya.
Geeta Mahalik, disciple of Gurus Debaprasad Das and Mayadhar Raut wove magic with her Odissi abhinaya pieces, mesmerising with Kavi Banamali’s delicate padavali “Sajani go na jani piriti jaha kohey” in raga Kalasree set to Adi tala and Krishnaleela (ek tali)with Surdas’ “Maiya mohey Dao bahut khijayo”. The vibrant Bharatanatyam “Jaya tungatarangini Gangey”of Jayalakshmi Eshwar in Hamsadhwani and Adi tala had glimpses of Swarajati but her portrayal of the Khandita Nayika in the Surdas Padavali “Mohey”, had all the irrepressible emotions that swept the audience away.
Four slokas of “Krishna Vandana” presented in Sattriya by Ranjumoni Saikia and group began with the traditional “Hari dhwani” followed by “Yet pada Pankaja”. The group showed fairly good training and co-ordination in the attractive choreography in the other three pieces. The choreographer’s performance being naturally the most commendable.
The second evening opened with the invocatory Pushpanjali, “Mahakali Tandava”, an impressive Ram Bhajan “Bhaja Ram naam Pada Bar Bar Kori” choreographed by Gajendra Panda in Ek tali and Misra Piloo by the Debadhara group. This was followed by the award ceremony for another four acclaimed dancers — Gurus Gajendra Panda (Odissi), Shashadhar Acharya (Chhau), Rani Khanam (Kathak) and Manju Elangbam (Manipuri).
The energy and power of “Ardhanareeswara” in Triputa tala by Gajendra Panda and Diptimoyee Sahu began the performances followed by the sparkling, highly physical fairy tale world of the popular “Raatri” in Seraikella Chhau by Shashadhar Acharya and group. However, Acharya’s exquisite performance was restricted due to the limited space of the stage. The “Garuda-Basuki” episode by his disciples was interesting being accompanied by two of his brothers on the dhol and cymbals and son on the nagada.
That Rani Khanam has a sharpness and brilliance in the nritta sequences of her Kathak was evident in her “Yamuna Ashtakam” and chakkar embellished “Tarana” in Bageshwari and Jhap tala but she was at her enchanting best in the thumri “Rehematey Aahat hai yaar ki”.
Manju Elangbam garlanded the invocatory “Vishnu Vandana” with a number of Ashtapadis from Gita Govinda in his sparkling presentation “Krishna Saranam Abhinaya”. He has a fantastic stage presence and his solo Dashavatar was executed with strong yet delicate strides, presented with command over supreme grace. Ashtapadi’s like “Chandana Charchita, Badasi yadi kinchidapi, Smaragaralakhandanam” were performed elegantly with refined grace by his well trained group. And the audience loved the dancing with the scintillating costumes.
