Odissi dancer Madhulitha Mohapatra, organized the two-day Naman festival recently in Bengaluru. | Photo Credit: Special Arrangements
Odissi, one of the classical dance forms, is marked by graceful postures, emotive facial expressions, bright costumes, and make-up. Pallavi, Ashtapadi, and Oriya poetry, and Chaukha and Tribhanga attitudes form the basic movements that Odissi dancers use to convey emotions, portray various characters, and tell stories. Various aspects of this dance style are explored through a series of performances at this year’s edition of the ‘Naman’ festival, curated by Madhulita Mahopatra in Bengaluru, under the banner of her dance school Nrityantar Academy of Performing Arts.
Spread over two days, the festival features performances by some of the world’s leading Odissi dancers, and also young dancers trained under Madhulita.
The second day of the festival featured Ensemble Nrityantar students visiting the Ramayana in their production of ‘Siya Ram- The Eternal Saga’. The visualization, featuring Sita sitting in the Asoka Vana and reminiscing about her life, quickly moves on to highlight many key moments from the epic.
With input from Shatavadhani Ganesh Bhat Koppalatota, and Odiya poet Kidar Mishra, the event was able to run smoothly. Through its vibrant musical score and beautiful choreography, it has captured the interest of audiences around the world.
Siya Ram Madhulita
Siya Ram: The Eternal Saga presented by Madhulita Mohapatra and her students of Nriyantar Academy of Performing Arts at the Naman festival 2024, in Bengaluru. | Photo Credit: Srivatsa Shandilya.
The commitment of the dancers is evident in the way they move through different sequences at a rapid pace. . Madhulita’s gentle and sensitive portrayal of Sita, combined with the portrayal of other characters – the calm and dignified Rama by Reshmi Divakaran; the might and power of Ravana by Sahana Raghavendran; and the flying deer Maricha by Mandana Sasikumar – as well as the roles of Hanuman, Surpanaka and Jatayu are delightful performances.
The dancers are Nandhana Sasikumar, Aditi Das, Prishna Sinha, Anupama Kumar, Angelena Avnee, Sunana Das and Soni Tarasia.
Rupak Kumar Parida’s ragamalika-talamalika music and Dyaneshwar Swain’s rhythmic compositions capture the essence of each sequence beautifully. The costume design and lighting add to the impact.
‘Invitation to Odissi’ Ramli Ibrahim
The next performance of the evening, ‘Invitation to Odiisi’, was by Ramli Ibrahim and the Silk Dance Theatre. They performed Mangalacharan (Ganga Taranga), Sthai, ashtapadi Lalita Lavanga and Suryastaka, from the repertoire of guru Ramli Ibrahim Debaprasad Das. Guru Debaprasad is known for his signature style which emphasizes the powerful and dynamic attitude of the Odissi style.
Ramli, as Sutradar, dances in a dignified way, weaving his way in and out at crucial moments telling the story. The depiction of the descent of the Ganges, and the emergence of Vickneswaran from behind as Shiva, is a powerful depiction.
Ramli Ibrahim and students of Silk Dance Theater selected four compositions from the repertoire of teacher Debendar Das for a thematic performance at the Naman festival in Bengaluru. | Photo Credit: Srivatsa Shandilya
In other compositions, the temple statues come alive with graceful moments that alternate between sculptor and sculpture, emphasizing the beauty inherent in this dance style. Dancers Tan Mei Mei, Geethia Shri and Vickneswaran convey the theme effectively through mime and movement.
Devjani Sen’s ‘Rasamanjari Pallavi’
Devjani Sen and students Akshata Tirumale, Anavi Mullick and Sohini Guha presenting the Rasamanjari Pallavi at the Naman festival in Bengaluru. | Photo Credit: Srivatsa Shandilya.
The evening concluded with a performance by Devjani Sen and students of her dance school, Odissi Dance Centre. Akshata Tirumale, Anavi Mullick and Sohini Guha presented ‘Rasamanjari Pallavi’, which brought out the Tribhangi and Chauka dance moves aesthetically. This was followed by a dance presentation based on the ‘Hanuman Chalisa’. Set to Ragmalika-talmalika, and choreographed by Devjani Sen, this exploration is inspired, but doesn’t quite lend itself to dance.
From capturing the essence of the Ramayana, to revisiting the choreography of guru Debaprasad Das, and weaving a rich tapestry to depict the Hanuman Chalisa, the two-day ‘Naman’ festival brought out the beauty and grace of Odissi dance. to rasika in Bengaluru.
Published – 07 October 2024 17:33 IST
