The eleventh version of Odissi dance festival ‘Naman’ was held in ADA Rangmandira in Bengaluru. The first day featured group objects and just a few solo dances by the scholars of Nrityantar. The second day of the festival featured three younger in style Odissi dancers.

Well-known Odissi exponent Rahul Acharya took the stage by storm together with his efficiency that was steeped in classicism. Both the items he introduced have been choreographed by his guru Durga Charan Ranbir. His stage presence and craft stood out in ‘Suryashtaka’ which was set in raag Bairagi, that aptly introduced out the mystique within the theme. Rahul began with a flawless ‘suryanamaskar’, thereafter he confirmed numerous attributes of the Sun god, as divakara, the ‘jagatkarta’, the preserver of the universe. Surya’s grand tour on a seven-horsed chariot was portrayed vividly with sleek gaits and beautiful poses. Earlier, Rahul and his disciple, Sourav Mohanty, admirably executed a pallavi, a pure dance merchandise in raag Chakravaka and ektali. Sourav appears to be a dancer to be careful for. The dance by the duo stood out for sturdy footwork, neat linearity and balanced actions. They complemented one another nicely as they took turns to bounce the swara passages.

Rahul Acharya and Sourav Mohanty

Rahul Acharya and Sourav Mohanty
| Photo Credit: Special Arrangement

Madhulita Mohapatra, the driving pressure behind Nrityantar, premiered her choreographic work, ‘Shoonya to Sufi’. Scripted by famous Oriya poet Kedar Mishra, the summary theme borrowed passages from Mirza Ghalib’s ghazals and Oriya poet Achutananda Das’ verses. The piece used the scope of rhythm immensely. Madhulita’s college students Nandana, Sahana and Liya accompanied her. The dancers introduced the effulgence of the all-pervading Brahman in a world the place the brilliance of the solar, moon, stars and lightning doesn’t manifest. The well-synchronised sequences have been spiced with folks dance for the sufi traces, ‘Bal bal jaaoon mein tere rang rajwa’. Worldly bonds and egoistic behaviour and their worthlessness have been portrayed successfully by means of brief expressive episodes. The depiction of Ganga aarti was one other putting function of the presentation that drew applause from the viewers.

Arushi Mudgal

Arushi Mudgal
| Photo Credit: Special Arrangement

Fluid actions

Arushi Mudgal’s efficiency delighted with some sensible music by Madhup Mudgal and choreography by the dancer herself. A jhampa taal composition in Bageshree raag noticed Arushi, in lyrical fluid actions, use the stage house successfully in numerous rhythmic sequences. Her thematic presentation, ‘Murta-Amurta’, traced the cycle of the formless to kind. The ensuing pure dance segments culminating in circles additionally confirmed the expanse of the common vitality. From sober expression of Shiva (Ardhanareeswara stotra of Shankaracharya) and Rama (‘Sri Ramachandra kripalu bhajman’), she danced mirthfully to Surdas’ poetic passages to enact episodes from Krishna’s life. Once once more, the plaintive strains of Darbari ended on quick nritta passages bringing it to a finale. ‘Pranasangini re’ is a conventional piece within the Odissi repertoire, famously choreographed and introduced by Kelucharan Mohapatra. The piece talks concerning the coyness, trepidation and anger of Radha, as she recounts to her pal an incident the place Krishna dupes her by posing as a woman. Arushi’s abhinaya left so much to be desired.

Over the years, the festival has been presenting the wonder and essence of Odissi to audiences in Bengaluru.

The author is a contract journalist.

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