Ratikant Mohapatra, son of legendary Guru Kelucharan Mohapatra struck his own course as a choreographer. He billed his style as “neo-classical Odissi” and clicked in his creative ventures, carving a niche for himself. Unusual productions like Allah, Mrutyu (death), Biswas (faith) and Synthesis have been admired both by critics and connoisseurs over the years. His latest creation – Kubja – that he crafted with a production grant availed from the Ministry of Culture of Government of India and premiered at Rabindra Mandap in Bhubaneswar on Saturday came as a pleasant surprise. The choreographer who has so far dealt with abstract concepts like national integration, death and faith – an unusual departure from the tradition of Odissi derived from mythology and literature – presented a popular narrative of the hunchback lady from the Srimadbhagabatam . This dispelled notions that he is only fond of the unusual. Script-writer Pandit Nityananda Mishra, a Sanskrit scholar, also broke the myth that he doesn’t deal with Odia lyrics. His brilliant use of typical Odia words and coining of the words in the long-lost convention of ancient and mediaeval lyrics, have largely contributed to the appeal of the narrative. Though an adaptation of a Sanskrit text, Mishra’s magic made it typically Odia in flavour.
Music composer Laxmikant Palit, constant collaborator of the choreographer, also contributed his best to make the tunes touching for a dance-drama catering to the simple and beautiful Odia music tradition. However, use of too many instruments – synthesizer, bass guitar, sitar, sarod along with flute, violin and mardal – marred the melody on many occasions.
As the curtains went up, the audience witnessed the chariot in motion carrying brothers – Krishna and Balaram – to Mathura followed by celebration on the roads of Kansa’s kingdom as people flocked to have a glimpse of the mystical Krishna. The well-trained dancers of Srjan convincingly created the illusion of a chariot in motion and transformed the stage into a street. The competition among the people to greet Krishna and their joy and excitement of meeting him was aptly delineated by the dance of sheer delight by nine artistes. As the narrative moved on, Krishna came across Kubja whose duty was to serve the king with application of sandalwood paste and perfume on his body.
Krishna, known for his countless leelas (mystic acts), wished to be served similarly by the cursed lady to which Kubja, an ardent devotee of Krishna, obliged. Krishna’s magical touch transformed the hunchback lady into a beautiful woman who longed for a blissful union with the Lord.
Krishna promises that they would meet upon his return from Kansa’s court. Juxtaposed with the lyrical dance sequences during Krishna and Kubja’s dialogues and interactions of love and emotion; the battle scene between Kansa and the brothers, brought out the best of tandav elements in the dance. Battle scenes were executed with excellent manipulation of light, music and movements of the bodies. In deep blue light, the audience could only see the bodies in a fierce battle; their faces were never highlighted; thus exploring the body kinetic instead of the facial expressions, to establish and convey the vigorous emotions – a novel attempt indeed.
The war scene over, a sudden black out prevailed on stage with stark darkness and within seconds the stage comes alive again to the bright yellow lights zoomed in on an abhisarika Kubja waiting for the promised reunion.
The love scene between Krishna and Kubja, soaked in an intense bhakti-shringar, was eloquently executed and convincingly conveyed by Rajashri Praharaj and Manosmita Panda respectively. Curtains came down with all the dancers chanting his name in their dance of ecstasy.
Light designers Jayadeb Das and Debiprasad Mishra created magic in complementing Ratikant Mohapatra in making a successful production that combined both craft and creativity.
