“My method to group choreography entails creating a piece that is each revolutionary and significant with modern interpretations and relatable themes, fostering a deep appreciation for Odissi’s pure model whereas making it accessible and compelling to a wider spectrum of viewers,” says Madhulita Mohapatra. Her Nrityantar ensemble premiered ‘Colours of Krishna’ at the twelfth version of ‘Naman’, a festival Odissi held at ADA Rangmandira in Bengaluru.
Well-rehearsed and coordinated, the manufacturing with greater than ten dancers, introduced the essence of Krishna as a toddler, lover, good friend and the supreme. Emotion and lyricism dominated the Krishna- Radha episode portrayed by Madhulita and Paridhi Joshi. In the Ashtapadi traces ‘Dehi pada Ppallavamudaram’ Krishna beseeches Radha to put her reddish toes on his head like a floral adornment. “We didn’t goal to merely reinterpret the lifetime of Krishna, we needed to current his timeless knowledge and attraction by way of the magnificence and magnificence of Odissi,” says Madhulita.
Today we see a vibrant Odissi scene with commendable works by gifted choreographers, gurus and artistes. This evolution has led to a recent perspective, pushing the boundaries of classical Odissi dance.
Preetisha Mohapatra, granddaughter of Kelucharan Mohapatra
| Photo Credit:
Srivatsa Shandilya
Young Preetisha Mohapatra carries the wealthy legacy of her grandfather Kelucharan Mohapatra. She carried out the Chandrakauns Pallavi choreographed by father Ratikant Mohapatra that gave primacy to the diversified rhythmic sequence of Panchamsavari. The grace and perfection in her stances and actions and verve with which she executed the cadences had been a sheer delight to look at. Preetisha proved her abhinaya prowess in the sancharis for Tulsidas’s ‘Sriramchandra Kripalu’, notably in the Swayamvar episode and the Rama-Ravana battle scenes. “The audiences have advanced. Their aesthetic expectations usually are not the similar anymore,” says Preetisha. “The Odissi scene is fairly dynamic at current. Traditional themes and concepts are being given a brand new therapy to cater to altering aesthetics and trendy audiences. However, to be a soloist is enormously difficult.”
The Nrityagram ensemble performing a Pallavi
| Photo Credit:
Srivatsa Shandilya
The dancers of Nrityagram carried out the Sankarabharanam Pallavi choreographed by guru Pankajcharan Das. Pavithra Reddy, senior dancer of Nrityagram, carried out the widespread Ashtapadi, ‘Yahi madhava’. ‘Namaskriti’ elucidated the story of Ganesha.
Pavithra Reddy carried out the widespread Ashtapadi, ‘Yahi madhava
| Photo Credit:
Srivatsa Shandilya
Surupa Sen, inventive director of Nrityagram and a formidable performer in her personal proper, introspecting on the contribution and core values of the famed dance establishment says, “Our work has been instrumental in creating a brand new style of group choreography that has been fairly distinct from what was once the dance drama custom. The understanding of line and form and our restructuring of conventional work with a extra trendy sensibility and emphatic manufacturing values has given impetus to a brand new method that has impressed many Indian classical dance practitioners throughout all dance types.
Surupa Sen
| Photo Credit:
Special Arrangement
She feels artistes immediately are looking for their very own voices and personal their dances extra, and are artistically in a position to categorical themselves independently from what has been handed all the way down to them. ”Artistically what issues to me is to have the ability to transmit to the subsequent era the essence of the dance form and what features of it ought to stay fixed.”