Ramli Bin Ibrahim | Photo Credit: Special Arrangements
Nrityantar presents the 13th edition of the Odissi dance festival, Naman 2024. “Our endeavor is to bring together and showcase the various styles and schools of Odissi dance and to honor the great teachers and pioneers for their invaluable contribution to this elegant art form,” said Madhulita Mohapatra, artistic director of Nrityantar Academy of Performing Arts.
Her dance ensemble will present a dance drama, Siya Ram… the Eternal Saga. In addition, the festival will also feature the Silk Dance Theater from Malaysia, led by Ramli Ibrahim, who will also dance at Naman 2024. Speaking on the phone from Malaysia, Ramli elaborated on Odissi, Naman 2024 and more.
Edited quote.
You studied ballet and Bharatanatyam, but took to Odissi. What is it about the form that appeals to you?
In the 70s, Odissi was not popular and there was no exposure to this dance. The first time I heard Odissi was when I heard Odissi music by the late Raghunath Panigrahi. His voice and his music were so amazing that they moved me. It was then that I learned about Odissi and Sanjukta Panigrahi (dancers). I have a friend, who just started to learn Odissi and I saw him dancing in it Mangalacharan and later on Dashavataar and fell in love with the form and decided to learn Odissi. Then when I met a dancer in Delhi, I discovered Debaprasad’s Odissi style and was fascinated.
What is the difference between Debaprasad Das style and Kelucharan Mohapatra?
The Debaprasadji form is more Shaivite, while the Kelu Babu form is based on the gotipua dance style. I also feel that Debuji’s style has a touch of tantrism. He is a little more minimalist, and the style is austere with the quality of Tandav I find interesting.
Stills from some dance choreography | Photo Credit: Special Arrangements
Pandit Raghunath Panigrahi’s voice remains in the Odissi dance recital. Would you say that his singing contributed to the rise of Odissi?
definitely. The sound is one of the main attractions of Odissi dance. I met her and Sanjukta Panigrahi several times and enjoyed her beautiful voice, while singing earlier, leaning towards south Indian classical style. Later his voice was strong swing to Hindustan. He has influenced many singers in Odissi.
You established an Indian classical dance school in Malaysia. Do you feel unfair in classical and folk forms?
There is no classical form in Malaysia, but a court form like Joget Gamelan. They are not like the classical Indian dance form that goes back to Natyashashtra. The challenge was to do something solo and I felt Indian classical dance was the epitome of that challenge. Even though I do ballet, I find, my feet are in Indian classical dance. I do not feel that promoting and practicing Indian classics does injustice to Malaysian art forms as Chinese, Indian and other forms are part of the Malay fabric. It is in a tapestry that is diverse and multi-cultural. Indian classical dance forms have become part of the art scene here.
How did you feel when you were awarded the Padma Shri?
It was unexpected and I felt very honored to be given one of the top four civilian awards from India. I am the second Malaysian to receive this award after Janaky Athi Nahappan, who lives not far from me. I thank the Indian government for this honor and I think ICCR (Indian Council for Cultural Relations) is encouraging and doing a great job in promoting artists who practice Indian art.
File photo of Ramli’s Odissi dance at an event in Chennai in 2019. | Photo Credit: PTI
As a choreographer, what challenges or obstacles do you face when it comes to international collaborations?
At Odissi, we collaborate with Indian artists. It’s the same with visual artists when we open a gallery here. We have been promoting artists from India for the past four decades. For dance, we have collaborated with Madhavi Mudgal, Bichitrananda Swaine and my teacher, Gajendra Kumar Panda… all of whom have been invited to perform here. We collaborate for dance, music, choreography, music, because everything has to be created from scratch. It has been a wonderful journey of collaboration and creation.
You have created a dance based on it Ramayanaand in Indian mythological characters like Krishna. What is your approach and treatment as a dancer-choreographer?
I try not to interfere with the basic vocabulary as a choreographer out of respect for the dance form. What I do is guide, in terms of the art direction and how it works, which I do with my collaborators. After finishing with Debaprasad’s repertoire work, we started to commission new works. This requires editing so that the texture of the work is well modulated. I am not looking for new ways of movement or presentation and metaphor. I don’t want to belittle the audience, who understand and judge the work from the greatness of dance, writing and presentation.
Madhulita Mohapatra, artistic director of Nrityantar Academy of Performing Arts Photo Credit: Special Arrangements
You will be coming to Bengaluru for Naman 2024, led by Odissi dancer Madhulita. What would you like to compliment about his work?
I am a big fan of Madhulita and think the students trained from her school have made a strong mark when they perform. I always look forward to the performance of his students. Actually the teacher’s style depends on who is dancing. The best dancers will perfectly reproduce the work of the best teachers on stage. I consider Indian dance as a dancer’s dance, how the dancer creates the best composition can be seen from how the dancer is trained and the transition of interpretation from pure dance to dance. Abhinaya.
Naman 2024 will be presented on September 1, 5pm at ADA Rangamandira, JC way. Open to all.
