The strains of lilting Odissi music, emanating out of the workshop venue, threw me almost 40 years back when, as the lead singer of Shriram Bharatiya Kala Kendra’s productions, I was introduced to the music of Guru Mayadhar Raut’s dance compositions. The sweet swaying gait of the melody, so different from both Hindustani and Carnatic streams, captivated me immediately and a little question raised its head – why is this not accepted as the third stream of Indian music? The same question haunted me when I faced Kumkum Mohanty, who, invited by Odissi Abbey, came to Kolkata to overview and bless ‘Uttaran’ a 10-day intensive workshop conducted by danseuse Chandra Ghosh.
Mohanty, an eminent Odissi researcher, composer and guru, successfully straddled parallel careers as dancer and as senior government official after clearing IAS (allied services). Later, she worked as the special secretary (Culture) to the Odisha government. After her retirement in 2004, she started her dance school Geeta Govinda, and also held the position of Adjunct Professor at School of Humanities, Social Sciences and Management, IIT Bhubaneswar.
Moreover, she is a crusader of Odissi music. Delightfully candid, she did not mince words while chatting over a well-deserved coffee after the day-long class, “In 1989, I had organised an ambitious seminar in Delhi where Pandit Hariprasad Chaurasia and the legendary violinist Bhuwaneshwar Mishra presentedOdissi music along with four vocalists. My senior guru-bahen Sanjukta Panigrahi and I danced on the same ragas. It was highly appreciated. Eminent critic Raghav Menon wrote ‘Odissi will definitely rise as the third stream of classical music.’
“Enthused by the response, I put a great thrust on this subject. I formed a committee of eminent musicians to help standardise the practical aspect of music which was being taught following ‘Raga-Kosh’ in music colleges since 1963; but each teacher followed his own methodology. Eminent musicians had also scripted books. However, on the question of standardisation, none agreed to modify the treatment of a raga handled diversely by different musicians. In the absence of any authentic book, common grammar or structure, the art did not take any concrete shape. No aspiring musician wished to jeopardise his career for a weak cause. So, the number of committee members dwindled to three!”
Excerpts from the conversation:
Have you given up hope?
No, for 20 years all this is going on without proper grammar, but I am sure a brilliant singer will be able to change the scene suddenly. Just like Guruji (Kelucharan Mohapatra and Sanjukta) who establishedOdissi as a beautiful classical dance form. Any such form demands five elements: music, rhythm, scriptures grammar and tradition. Among them music is the most important factor for me.
Did you learn vocals?
Both my husband and I hail from families where music and dance were not cultivated. Yet, as a toddler I left home only to follow a band party. No one was able to trace me till police found me sitting near apaan-shop because the band took a break there. That is when my parents realised that I was sold on music.
Once while giving foot-massage to my father, I kept singing songs relentlessly. He was very surprised and encouraged me to learn both music and dance. Later my husband, a senior IAS, supported me to continue with my passion.
For me, sahitya, sangeet, tala, abhinaya - all create a fusion to evoke rasa. Music is the source and essence of this creation.
The body movements have to emulate the musical designs. Once, Guruji tried to teach me an alaap even before listening to the music. I refused to do so. For me, music is heaven and with good reasons! I am a witness to Guruji’s rise. Guruji was a master of mardala and several other musical instruments and a terrific singer too. His ‘raasa-party’ experience came in good stead. Even while recitingbols he would sing in perfect pitch of the tonic chosen. Despite all Guruji became famous only when Bhuvaneshwar Mishra joined him.
A dancer cannot dance to drums; he needs music. Earlier from 1955 to 1965, there was no second pallavi created by Guruji. Mishraji was well-versed with all the three streams of music – Hindustani, Carnatic and Odissi.
After his arrival, there came a sudden surge of creativity. In 1967, Sangeet Natak Akademi organised a seminar on the influence of “Geeta Govinda” on varied dance forms. Guruji composed many ashtapadis at our home and took me along to Delhi. My performance won rave reviews. Rukmini Devi Arundale wanted to see the guru. When he performed, viewers were overwhelmed!
How did you manage this demanding art with job and family?
I codified the dance movements only to be able to remember them while I was away from Guruji on job assignments. While watching Guruji dance, I had realised that with pure dance we create beauty in which wrist and fingers play a huge role along with elbow and knee joints. No other dance form uses the wrist and elbow movement as much as Odissi. In older form of Odissi, derived from the temple sculptures, there was no torso movement. In Konark, it is very apparent. Similarly, in 1950, there was no torso movement but later it accentuated. Mayadharji had also learnt Bharatanatyam and Kathakali inKalakshetra. When he came back and joined Guruji in Kala Vikash Kendra, he introduced the concepts ofnavarasa. Guruji very quickly grasped these interpretations and enriched Odissi.
Later, when I showed the codified dance scripts to Odisha government, I was invited to head the culture section. This was essentially research oriented work and left enough space for me to pursue my dance and also keep an eye on my two boys. By analysing and codifying the pallavis, I have now gone beyond what Guruji did. I have introduced varieties of pallavis with Guruji’s favourite glances, stances and body movements for advanced students and used easier techniques for juniors.
You are known for your abhinaya!
I always improvise on stage during abhinaya which draws colours from life’s experiences. Some emotions are serious, some actions rely on chhand , some depict lighter moods; just as different poets’ sahitya portray Krishna differently. Jaidev’s Krishna is very different from Gopal Krishna’s or Upendra Majhi’s. Guruji treated all very beautifully; even then I used to ask him to explain his imagination logically. Even in pure dance or in ‘Moksha’, which are pre-composed, we have the liberty to improvise towards the end. I often change the bars in between the given tala cycle.
Whenever I added something, Guruji would accept it with an emphatic ‘thank you’. While teaching abhinaya, I always select seniors because the feelings cannot be understood by the inexperienced. Also singing is a must for all students because body movements must emulate the melody.
