Adi Sankara's philosophy to the fore
SARAT CHANDRA
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The fete for the Guru Kelucharan Mohapatra Award ceremony included the challenging `Bhaja Govindam'.
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SYNCHRONISED PERFORMANCE `Bhaja Govindam' dance presentation.
It was a three-day cultural fete of the highest order where national-level artistes displayed their art - where the rhythm of Kolkata-based Sabir Khan's tabla resounded; the notes of Abhay Rustom Sapari's santoor floated weaving magic; flautist Ranu Majumdar displayed his enthralling artistry; the classical Odissi virtuoso Ramahari Das charmed with his recital and Pandit Madhup Mudgal sang captivating Hindustani classical. It was Bhubaneswar-based cultural body Srujan's annual Guru Kelucharan Mohapatra Award ceremony. Srujan, on the occasion, awarded Rs. 25,000 to each of the four veteran artistes in appreciation of their contribution to the culture of Orissa. Budding Odissi dance artistes also performed during the three-day fete at the Rabindra Mandap. There were several dancers and several impressive Odissi items presented. But the one that topped everything was Bhaja Govindam, which mirrored Adi Shankara's philosophy.
Bhaja Govindam was choreographed by Ratikanta Mohapatra, who based his dance composition on Sankarachary's Moha Mudgara. It is a Sanskrit classic that describes the world as a place of flux, where man is subject to disease, old age and death. There is also a well-known sloka from the Upanishad - Om purnamadah purnamidam purnat purnamudachyate that the dance composer used.
Spellbinding effect
Eight young men and women, well groomed in Odissi, danced to the tunes and melodious voice of music maestro Laksmikanta Palit. Though the theme is serious, and even sacred, the dance had a spellbinding effect on the well-attended audience (It may be mentioned here that Sage Bhanata specifies four attributes for classical dance and names these as aharya, angika, bachika and sattwika i.e costume, body-language, vocal words and elevated-theme). Though the theme of Bhaja Govindam is sufficiently elevating, the choreography and presentation matched the theme almost adequately.
The initial sloka of the Upanishad describes the Creator's dynamic, magical nature (purna madah, Purnamidam). Not just fluid movements and postures but skilled lighting also played a part in the dance presentation. Thereafter there were seven slokas in which Shankaracharya describes the maya-ridden plight of man- life fraught in uncertainties, pride leads man astray, pleasure seeking ultimately causes him pain, old age desiccates him. Man's refuge in Brahma only can salvage him, the poet concludes.
Bharat Muni mentions suattik in the theme and Bhaja Govindam is of the highest order and presents a great challenge to the choreographer. The presentation on the last evening revealed that Ratikanta Mohapatra has mellowed as a choreographer. While the chaukas in the presentation were profuse and clear, the other posture of Odissi dance, the trivangi was not as clear or profuse. The item needs improvement for national level presentation.
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