Odissi recital by Madhulita Mohapatra demonstrates elegance

Madhulita Mohapatra   | Photo Credit: K K Najeeb

A two-hour Odissi recital by Madhulita Mohapatra and her group in Thrissur was an exposition of the attractive features of the dance form. Group, solo and duet performances showcased the choreographic skills of both Madhulita and her guru, Aruna Mohanty.

The team opened the performance with Shiva Dhimahi that was marked by energetic nritta sequences. A tribute to Nataraja, it embraced a comprehensive portrayal of the attributes of Shiva, including his matted locks in which Ganga was hiding, the crescent moon, swallowing of the poison that turned his throat blue et al. The synchronised movements of the group made it a scintillating watch.

Perhaps, the highlight of the show was two pieces from Geeta Govinda that followed, which revealed Radha’s two different moods. Both of them brought forth the choreographic inventiveness of Aruna.

‘Ramate Yamuna Pulina Vane’ (14th Ashtapadi), a solo by Madhulita, delineated sambhoga sringara of Krishna quite enchantingly. The dancer’s movements maintaining tribhanga was commendable. The piece was also an index of her histrionic potential as she took care to explore the subtleties of the piece. Even as the narration of Krishna’s exploits with gopikas continued, Radha turned a virahotkhanditha nayika. She feels the futility of waiting for someone who is busy romancing another woman on the banks of the Yamuna. Both raga Pilu and taal Ektali enhanced the efficacy of the number.

By following it with ‘Radha Vadana’ (22nd Ashtapadi), Madhulita demonstrated how ingeniously she had planned her repertoire. Presented as a duet, Radha is here seen in the blissful company of Krishna as she joins him in the bower. While Krishna entered with a graceful dance, the moment Radha met him was well-illustrated with an abrupt pause that displayed their feelings. What demarcated the performance was the myriad sculptural poses of the two. Madhulita and Paridhi Joshi donned the roles of Radha and Krishna respectively. The music, composed in Kalyan and Ektali, was soothing.

‘Hari Smarane Mado Nirantara’, a composition of Purandara Dasa, was the concluding item performed in group. The Devaranama composition extols the virtues of Vishnu and exhorts all to meditate on him for salvation. Conceived as a drama, it was composed of popular anecdotes that highlighted the role of Vishnu as a redeemer. Of these, the incarnation of Narasimha and his encounter with Hiranyakashipu appeared too long. Space utilisation was commendable and the entire stage was used by the group. Singular footwork added an extra dimension to the nritta in the beginning. Music was set to Ragamalika, as against Yamunakalyani of the composition, and Ektali. Other dancers included Sahana Raghavendra Maiya, Vivekini Das and G Bhargavi.

The programme was held as part of Soorya-Thalam Parampara Festival 2018 at Hari Sri Vidya Nidhi School in Thrissur.

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Printable version | Jan 20, 2021 6:43:20 AM |

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