‘Anugamanam,’ a fitting tribute to Odissi maestro Kelucharan Mohapatra was offered by Ratikant Mohapatra, son and sishya, Daksha Mashruwala and Jhelum Paranjape, senior disciples of Guruji and SRJAN, in ‘August Residency’ programme, hosted by NCPA at the Tata Theatre.
A segment titled ‘Dashanan’ opened with Ratikant playing Ravana, in an act of penance to invoke Brahma, offering his head in the sacrificial fire and playing the Veena built by his sinews.
He is destined to die for his illicit designs, if he commits the sin of Sita Haran. The scene moves to Sita’s abduction. A shawl was effectively deployed by Ratikant to hide his persona into the body language of a mendicant. The cunning gleam in his eyes said it all.
Effective portrayal
Jhelum Paranjape as Jatayu covered the huge stage with her dancing wings. Mission undertaken to save Sita is defeated by the demon who cuts off the wings. Mutilated and in palpable pain, effectively expressed by Jhelum, the bird’s solace is the soothing strokes of Rama, which was well-conveyed with empathy by Daksha Mashruwala.
Her disciple Namrata Mehta’s portrayal of Lakshmana as an obedient brother was picture perfect. Mandodari pleads to Ravana by saying why does he desire for Sita when he has enjoyed the celestial nymphs.
As he prepares for the war, it is a moment of truth. It is his wish for salvation, to be vanquished by his creator. Daksha and Namrata displayed the war movements with agile strides, adding drama to the narrative.
Graceful movements
Kelucharan Mohapatra’s choreography was adapted and executed with dedication and dexterity by son Ratikant and students, taking his legacy ahead.
‘Vinayak Smaranam,’ narrated through group arrangement, the twelve namavalis of Ganapati. Dwadasa Nama Stotram from Narada Purana was choreographed by Ratikant. Neat and compact aharya, synchronised movements and smooth transition to sculpted stances made the entire piece an amalgam of grace and gusto. Swaranandam in Kiravani that came next was a musical combo of laya, jati dhwani that recounted the power of Omkara, exalting both mind and spirit through madhurima of music.
The unparalleled piety of Shabari was portrayed in a highly communicative solo recital by Ratikant. With a hunched body trembling with age and devotion, washing the Lord’s feet, plucking flowers to worship him and tasting every berry before offering it to Rama, Ratikant essayed the role of Shabari well.
The final piece was Ardhanareeswaram of Adi Sankara, presented by the students of SRJAN. Coordinated geometrical movements and formations, melodic music, effective percussion and nuanced narration boosted the repertoire. Suitable lighting, particularly deep red stage lights during the penance, enhanced the visual comprehension.
“It is a matter of great honour to host this offering to Guruji, who is an icon of Odissi,” said Odissi dancer Swapnokalpa Dasgupta, Head of Dance Programming at NCPA.
The screening of a film on the life and work of Guru Kelucharan followed by a talk at the Godrej Theatre and a workshop for Odissi aspirants were scheduled the next day.
