An authoritative and a comprehensive book ‘Dance Orissi’ on one of the most beautiful and graceful dance form of Orissa.Odissi, authored by familiar writer and dance historian Ashish Mohan Khokar was released by the former Chief Secretary of Karnataka Chiranjeev Singh at the Alliance Francaise last week. The painstaking, historically significant and a noteworthy work has been the result of quite a few years’ intense study and systematic presentation of the facts and figures pertaining to the Odissi dance by the author. A documentary film with one of the great pioneers of the dance Sanjuktha Panigrahi in the lead was also screened.Young Odissi dancer Madhulita Mahapatra, now settled in Bengaluru, presented her tiny students of Nrithyantara to relive the beauty and elegance of the sculptures of the world- famous Konark temple under the heading of ‘Konark Kanthee’. The Odissi nritta and abhinaya were endearing.The Cuttack QuartetWhat Tanjore Quartet did for Bharatanatya, the same was done for Odissi by the Cuttack foursome-Guru Pankajacharan Das, Guru Kelucharan Mahapatra, Guru Debaprasad Das and Guru Mayadhar Raut. They have lent a solid contribution by restructuring the dance format of Odissi. Their modification of the format has been rewarding.A few glimpses of their specialty and wonderful contributions enthralled the lovers of dance in the evening’s ensuing programs presented by the authentic representatives of the different forms of Odissi dance. The various stages and expanding horizons of the dance form got aptly underlined. By presenting the Ahalya episode from the Pancha Kanya dance number, Suhag Nalini Das, a prominent disciple of Guru Pankajacharana Das, brought to the fore the greatness of her Guru.Her exposition with the shloka ‘Aangikam bhuvanam’ prelude was a glowing example for linear padaarthaabhinaya. The one-line, one-depiction of the theme was impressive. Sharmila Mukherjee, a noteworthy link of the Guru Kelucharan Mahapatra style and lineage, presented her disciples to highlight the Ras and theatre oriented style. The portrayal of a Jayadeva Ashtapadi ‘Shritha Kamalakucha’ could communicate the essence of the Guru’s invaluable contribution. How tandava element, bending of the body, Chowka, postures etc, beautified the Odissi form was depicted by Gayathri Ranabir.Guru Mayadhar Raut visualised the grandness and prominence of sancharees in the abhinaya. This was artistically illustrated by his disciple Meghana Das who explicated Mangalacharan and Manikya veenam.Profound AbhinayaMadhulita Mahapatra and her disciple Anjali Raj Urs underscored the distinctivenesses of Guru Gangadharpradhan and Arun Mohanthi’s style. The eternal lover story of Radha-Krishna was the subject matter for reenactment. Madhulita’s profound abhinaya deserved a special pat. In another abhinaya-bonus, Bhubaneshwar’s Lingaraja Pradhan brought out a few niceties of abhinaya through his presentation of a poem on Lord Jagannath (Ahe neela shaila) by Salabeg.Deepa DarshanaDeepavali celebrations sent the invited audiences at Raj Bhavan into raptures in a program entitled ‘Deepa Darshana’ by Bangalore Doordarshan under the joint auspices with Raj Bhavan. Music, dance and messages of happiness and prosperity marked the occasion. The Governor of Karnataka Dr HR Bharadwaj and other dignitaries inaugurated the programme. Dancers from Kodavuru’s (Udupi) Nrithya Nikethana led by their Guru and highly talented choreographer Lakshmi Gururaj excelled in group performances and etching of sculpturesque poses.
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