Traditions and lineages are kept alive by its practitioners and torch bearers. Guru Gajendra Kumar Panda, of the Odissi dance tradition, fondly known as Gaji, is one such custodian of the rich legacy left by his Guru, Debaprasad Das. Not only does he zealously guard the treasure, but he seeks to continuously enrich and replenish it, working within the framework created by the Guru, regaled as one of the founding fathers of the modern day Odissi style of classical dance and credited to have taken it outside Odisha for the first time.
Gajendra was a Sakhi Nata dancer, when at the age of 11, he came under the tutelage of Guru Debaprasad Das. His family had a rich performing tradition, with Gopinatha Panda, his maternal grandfather, being a renowned guru in Bharat Lila, a folk theatre form of Odisha. His mother, Sakuntala, was a good singer and father, Narayana Panda, was an established mridangam player, who also used to play the role of Lilavati in Prahlad Natak, another folk theatre form. When Gajendra joined the Utkal Sangeeth Mahavidyalaya, the idea of learning under three gurus did not appeal to him and he played hooky. The errand youngster caught the eye of Guru Debaprasad Das, who was also one of the teachers at the Mahavidyalaya. The boy’s strength of conviction and abundant talent won over the master, who invited him to stay at his home and learn the art in the Gurukula tradition.
“Guruji always looked upon me and referred to me as his eldest son – a relationship that continues to this day with his family, even after his death in 1986,” says Gajendra. His taking up the directorship of Tridhara, the institution founded by his guru, and doing everything possible to preserve the work and practice of the Debaprasad gharana, is the expression of his guru bhakti (devotion to the guru). This intense relationship between the master and his disciple has inspired the composition of ‘Adoration’ by Ramli Ibrahim, the renowned dancer from Malaysia, who is another of the Guru’s students.
Respect and admiration replete in his words, Gajendra explains that his guru was not just good in the practice of Odissi, but very strong in its theory as well, having done considerable research on its origins and history. He believed that while the basic framework of Odissi, like other classical forms, is Natya Shastra, it would also exhibit ethnic elements.
He had thus concluded that Odissi would essentially include tribal, folk and classical dance forms of Odisha. Hence Tridhara – the three streams – the name of the institution founded by him. “Odissi contains not just the Mahari (temple dancers) and Gotipua (boy dancers) traditions,” Gajendra echoes his guru’s words, “It is, in fact, a reflection of the samskriti, or culture of Odisha as a whole.” Thus the lesser known forms of Sakhi Nata, Akhada Pila and Sabda Nritya find place in the style of Odissi propagated by Guru Debaprasad Das. “Even the basic square stance, Chauka, is symbolic of Lord Jagannath, whose presence pervades all of Oriya culture,” explains Gajendra.
The Debaprasad style is straight forward in its approach. It keeps away from superfluous sancharis and unnecessary embellishments that other schools tend to use. And it is definitely not all lasya. “Guruji introduced the thandava aspect into Odissi, believing it to be necessary for a wholesome presentation. For instance, how can you depict a war without it?” he asks.
Perceiving this distinction in style, several are the professional dancers and students who come seeking to learn from Guru Gajendra Kumar. Consequently, the onus is on him to create newer compositions, so much so that in number he has outdone those of his guru and other senior maestros!
In the Sabda Swara Patta, introduced into Odissi by his guru, Gajendra has created Sabdas on the Ashtanayikas and is currently composing a new one on male and female dancers. He also delves into the rich poetry of the Odia poets, Upendra Bhanja, Baladeva Ratha, Banamali and Gopal Krishna, whose works are so amenable to Odissi. Striving to perpetuate and popularise the Debaprasad gharana, Gajendra holds workshops and lec- dems from the village level to the international arena, and as such Tridhara’s efforts have reached far and wide. Their annual Debasmriti and Debadhara festivals and the Guru Debaprasad Award bestowed on dancers for outstanding contributions, are other gestures of tribute to a legendary guru.
Gajendra is now in the process of compiling his master’s work and recording it for posterity. Great endeavour indeed from a 47-year-old guru, who shies away from recognition! “To be a successful dancer or a teacher, one needs to have tremendous perseverance and guru-bhakti of course. Without the guru’s grace, nothing is possible,” he concludes.
