The five-day long Konark Festival of Dance is one-of-its-kind. Celebrated from December 1 to 5 every year, it is conducted in an open-air auditorium with the famous 13th Century Sun Temple in the backdrop. The festival enthrals dance-loving tourists from across the world. The winter breeze from the sea and the magic created by the best of choreographers create an atmosphere of heavenly beauty. At this year’s festival too, the standards were high. The connoisseurs were treated to some outstanding performances. An exquisite bouquet of the choicest dance forms was presented. To match the undying beauty of the stone figures of the dancing maidens of Konark temple, Srjan Guru Ratikant Mohapatra a set of finely tuned dancers whose poses were like the sculptures found on the temple walls. With his choreographic presentation of Bankim Chandra Chattopadhyay’s Vande Mataram, he killed two birds with a single shot. His repertory group succeeded in creating an illusion of the dancing maidens of Konark temple in the semi-darkness of the stage, while genuflecting to Mother India at the same time.
Jugmadwanda Pallavi in raga Bagesri was choreographed by Ratikant himself. His choreographic skill also stood the test of time in Biswash, which had precision of style and embraced tolerance. However dancing space provided could have been utilised more fully, by using the back stage as well.
GKCM Odissi Research Centre of Bhubaneswar, an autonomous institution had for its fare the story of Brihannala from the Mahabharata. The great warrior Arjun approached his father Indra at Alokapuri to give him the divine weapon Gandiva. The apsaras danced to welcome him. Seeing his interest in dance Indra appointed the celestial dancer Urvasi to teach him the art of dancing. After Arjun had mastered the art of dancing, Urvasi solicited his love as guru dakshina, which was denied. The fury of Urvasi knew no bounds and Arjun was cursed to lead the life of a eunuch for a year, which turned out to be a blessing in disguise, when the Pandavas were required to lead a life under cover in the last year of their exile. In the palace of the Birat king, where they chose to spend a year in disguise, the lustful eyes of Kichaka on Draupadi disguised as Sairindri infuriated the Pandavas and Bhima at the behest of Arjuna, who had disguised himself as Brihannala – the eunuch dance teacher, killed Kichak, thus ending the year long ordeal.
The team made a regal entry in a chariot. The male dancers were magnificent with their leaps and pronounced tribhangi postures. It was an impressive Indra Sabha where father and son met with warmth. The story was recreated authentically in pure Odissi movements, steps, stances, hasta-mudras, facial expressions. However this reviewer felt that Arjun the handsome Pandava, the bravest and the most regal in bearing of the five Pandava brothers could be more majestic as Brihannala. There was little need to caricature him.
‘Tales of the unheard and unsung’ was an outstanding choreographic work of Kuchipudi dancer Vyjayanti Kasi, presented at the prestigious festival this year. It was watched spell-bound by an international audience. The remarkable story of the Kakatiya queen Rudramma, whose reign of four decades has been recorded in history as the golden age of the Kakatiyas, was told excellently by the remarkable dancer Prateeksha Kasi. Prateeksha Kasi is a dancer par excellence. Possessed with grace, vigour and vitality, she won over the hearts of the connoisseurs and lay audience alike. The Kuchipudi dance nuances rendered were perfect. Every move showed regal bearing. The scenes of Rudramma’s coronation, the art of learning warfare and then the actual war scenes and every other scene were etched with care. The dexterity with which Rudramma rode her horse was unbelievable. It was a perfectly told story providing pure joy. The group dancers were excellent too. In the following piece, Vyjayanti Kasi in the role of Kanya, created by Adi Shakti to annihilate Banasura, emoted sringar rasa for Shiva brilliantly. Shiva and Kanya had fallen in love to the point of no return, so much so that the purpose of Kanya’s creation was forgotten. The alarmed gods watched helplessly while Narada played a trick to delay Shiva enough to by- pass the auspicious moment of his marriage. The crestfallen Kanya was beside herself with grief only to be reminded of the purpose of her life, which she then fulfilled and remained forever in wait of her beloved Shiva. Vyjayanti bowled over the audience in telling the story of Kanya who remains Kanyakumari for eternity. The transformation of the lovelorn Kanya, to the joy of waiting and then the feeling of despondence when Shiva fails to appear and then to the dutiful goddess was brilliantly portrayed. The costumes worn were simple and did not distract one from enjoying the dance.
The unprecedented rains in Chennai cast their shadow on the painstakingly packed programme at Konark Festival. The team from Kalakshetra Foundation, Chennai could not make it. Last minute arrangements gave the slot to Rajasree Sainath of Hyderabad, who due to her state of unpreparedness could not produce her best. She danced Mallari followed by Swarajati in Gambhira Nattai. Siva Nataraj in ragam Hamsanandi. Krishna Padam and Tillana rounded off her programme.
