On 8th of January was Guru Kelucharan Mohapara’s 93rd birth anniversary. It was indeed an auspicious occasion celebrated in a grand way at Bhubaneswar. Kelucharan Mohapatra was one of the three pioneers in deconstructing a form of dance with a hoary past that is supported by architectural evidence. Today, Odissi as a dance form has walked miles. The baton of Srjan Nrityabasa founded by the Guru has been presently handed down to Guru Ratikant Mohapatra as per the guru-shishya-parampara.
The evening was marked by performances of soloists - Meera Das, Rajashri Praharaj, Riddhi Bhattacharya and Bharati Misra.
A jugalbandi by flautist Srinibas Satpathi and violinist Agnimitra Behera provided aesthetic delight. Antardrishti, as the presentation was named, was inspired by the influence of the legendary founder guru.
Notwithstanding the first day of the two day long Bharat Bandh, Rabindra Mandap in Bhubaneswar was bursting at the seams to watch the celebrations in honour of the first Padma Vibhushan awardee of Odisha. Riddhi Bhattacharya. The first to take the stage performed the popular Shiva Stotra, ‘Jaya Mahesh jata Juta Kantha sohe kalakuta’ choreographed and composed by Ratikant Mohapatra. The music was by Debasish Sarkar, vocalised by Vijay Jena. Riddhi Bhattacharya has perfect body control and ‘angasuddhi’.
Swaying her body in the manner of Shiva, while holding Ganga aloft and at the same time playing the damaru joyfully, she genuflected to Shiva in the fashion of a seasoned practitioner.
Aravi Pallavi by Bharati Mishra, a product of Guru Kelucharan Mohapatra Orissi Research Centre, was memorable. The work is by the legendary duo Kelucharan Mohapatra and Bhubaneswar Misra. It is an all time great piece, with voice over by Ghanashyam Panda. Possessed with extreme grace with her eyes and limb movements following the Shashtric canon of ‘jatho hasta thatho drishti ‘, she covered the stage splendidly.
Unmatched perfection was Rajashri Praharaj’s forte. She is one of the most talented disciple of Srjan and rendered an expressional dance on stage , “Sri Ramachandra kripalu bhajo mano” from Tulsidas ‘ Ramcharit Manas. Every thing starting with Rama’s lotus shaped eyes, his warrior like hands, his humility was described with a practiced demeanour. The sancharas, describing arrogant and fallen heroes in the sabha to win Sita, was greeted with appreciation from the rasikas. The grace and valour of Rama shown in winning Sita and the duos’ love filled admiration of each other ‘were heart warming. An Abhinaya piece cannot exist only on expressional dance, it has to have pure dance too. Rajashri Praharaj excelled in this too.’
Dramatising as Radha
Meera Das, a veteran and much acclaimed Odissi performer /teacher, as Radha entreated her Sakhi or companion to bring her lover Krishna to be with her. The act of removing her ankle bells, to avoid its lingering sound and then removing a sharp blade of grass from her toe, were dramatic. Shyly Radha recollected her first union-‘prathama Samagam’-with Krishna, which perhaps can possibly be shown authentically only with Odissi’ sensuousness.
The second part of the evening consisted of a musical piece. Both flautist Srinibas Satpathi and violinist Agnimitra Behera cast a spell on the audience. What they presented had the uniqueness of raag charukesi. Then they played Rag Mala and taal Mala. Starting with raag Bhimpalasi, they included in it at least 16-17 ragas.
