“Dance is the essence of my soul,” said Odissi exponent and Sangeet Natak awardee Aruna Mohanty, who is the recipient of this year’s prestigious Padma Shri award from the President of India. One had the rare opportunity of talking to her at her prestigious and historical Dhauli-Kalinga Mahotsav which celebrated its 13th year at the foothills of Dhauligiri. The festival which is held with the help of Art Vision and the Department of Tourism, Government of Odishais slowly but surely ushering in peace, at the very spot which supposedly was witness to a lot of bloodshed when Ashoka the Great fought the Kalinga war on the banks of river Daya, whose water ominously turned red. What better spot could there be other than this, when King Ashoka gave up war and turned to Dhamma Vijaya with the help of Upagupta.
Aruna Mohanty spoke how she conceived Aikatana, for the Dhauli-Kalinga Mahotsav this year.
What is the philosophy behind the project?
Odissi has been restructured in post-independent India by the gurus. At the moment many of their disciples have created their own niche with their unique understanding of the subject. In “Aikatana”, I have sincerely tried to bring in the dharas of seven gurus and their seven groups together to co-exist creatively and peacefully.
What was your inspiration for “Aikatana”?
I have tried this concept of working with seven forms of folk dances a year before last. Vividha Varna choreography was quite a success. Last year I experimented with Sapta Varna, the seven colours with seven classical dance forms. Thus I was goaded on to do more. This year I have done the same, but with seven styles of Odissi dance. I conceived a theme where there would be one sanrachana, choreography, with seven thought processes where there would be ‘ek nada or ek swarupa’. To respect individual thought and expression, we based ‘Aikatana’ on Sankhya or number. (Ratikanta Mohapatra was the co-choreographer and Kedar Mishra was the scriptwriter.) Sankhya is Brahma and it is oneness. Each of the seven groups chosen was given a number. Linking up the seven teams like a chain was the perception we shared. We started with an invocatory piece which was penned by Kedar. In this, representative performers of every group was included to dance.
How difficult was it to bring the gurus together?
We effortlessly managed to bring the Odissi community together. When the intention is good, nothing is a problem. I did not try to get a mileage out of this whole endeavour. I moved on with the help of Ratikant, giving due respect and space to every modern Odissi dance choreographer in our fold.
How did you manage to rehearse this mammoth production?
Since all the groups are professional groups, there was a great deal of sincerity of purpose. There was no unpleasantness or ego clash. Above all there was Divine Grace. ‘Aikatana’ was happening as all of us cooperated and gave our best. We put in our best foot forward when it came to creativity.
What was the ending like?
We ended with the sankhya ten and therefore our natural choice was Dasavatara where all the groups came together and danced in a magnificent choreography about the ten avatars or incarnations of Lord Krishna with both Ratikant and myself standing outside, looking at the grandeur of it all, was so very fulfilling and a thrilling life experience.
