The recently performed “Odissi Sandhya” was an offering of dance to the picturesque sunset. The group and solo led by Bengaluru-based Madhulita Mohapatra’s “Nrityantar” ensemble rippled like a lyrical poem with artistic elucidation on stage. Aesthetics and adherence to rhythm (taal) have always been Madhulita’s mainstay. She excelled in solo with the 18th Ashtapadi in Saveri raga “Harirabhisarati vahati madhupavane...” where she began with the antara “Madhave ma kuru” and emulated Radha’s contours as her sakhi (friend) consoles, lauds and counsels her for being “needlessly” miserable and sad at being separated from Krishna for a while. Madhulita was able to create an entire scene in front of us of a wise friend, a soulful Radha who is at once restless and steadfast in love and above all the omnipresence of Krishna who is felt even in tender breeze! Her expressive glances to the line, “maparihara harimati...” were convincing. The elucidation of the Dasavtar at “Harimavalokaya” underlined her creative excellence.
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The invocation to the cosmic dancer in “Shivam Dimahi” with which the show began, saw Kohal Das at his energetic best, bringing in the spirit of Shiva while the girl dancers moved at tandem to the memonics and verse. The very opening spelt out an interesting evening of dance. The Malkauns pallavi, a pure nritta (footwork – gestural) again a group choreography had Sahana Maiya, Paridhi Joshi, Banashree Mohapatra, Vivekini Das intertwining to form patterns in twos and fours, striking statuesque postures in typical Odissi style. The uniqueness of this group was their artistry in moving from static (pose) to kinetic which seemed like temple frescos come alive. The Odia duet “Baguchhi sahi bajare...” which was again about Radha, Krishna and Sakhi in a different context though more colloquial was a well-articulated piece though this one and the last, a Dasaranama, “Hari Smarane Mado...” of Purandharadasa in Kannada, in the bhajan mode as the ending piece could have been replaced by another Sanskrit-based song and the customary moksha to facilitate better appreciation by a non-regional audience. To Madhulita’s credit, it must be said that her pupils displayed excellent sync and precision to taal which is no easy job. The show was hosted at India Habitat Centre.