From Prakriti-Purush by Aruna Mohanty | Photo credit: SR Raghunathan
The aesthetic result of any creative work is determined by the refinement of ideas and presentation technique. This refinement made a strong impression on the performance of the dancers of the Orissa Dance Academy under the guidance of exponent Aruna Mohanty at the 69th Annual Kalakshetra Arts Festival.
From the choreographic structures and coordination of the dancers’ movements to the costumes and the color palette of the musical composition and accompaniment, everything flowed seamlessly.
Prakriti-Purusha, with whom the performance began, explored the concepts of male and female principles and the ideas of creation. Choreography, conceptualized with vigorous dynamic movements to denote one as the embodiment of energy and dynamism and the other through graceful movements to denote a state of bliss, the creative energies of one and the destructive energies of the other artistically captured the diversity among men. and woman.
geometric lines and patterns
The dancers, male and female, moved with great precision, conveying contrasting principles through the formation of various geometric lines and patterns. The melodious musical rendition of ‘Ayigiri Nandini’ in raga Hansadhwani visualized the goddess’s emergence from fire, the graceful flow of the Ganges and her fierce encounter with Mahishasura.
Pallavi, an object of pure dance consisting of lyrical grace and dance passages running parallel to the musical path, forms an important part of the Odissi repertoire. The clear geometry of the lines in the Khamaj pallavi and the lively sound of the group’s footwork, with female dancers recreating the tantra in the temple sculptures, highlighted the aesthetics of the Tribhanga style of Odissi.
‘I am, therefore, you are’, an existential monologue of an anti-hero where the character is not an anti-hero but a prototype of the hero, was explored by Aruna Mohanty in an intriguing solo performance. Drawing on the narratives of Narasimha-Hiranyakashipu, Rama-Ravana and Krishna-Kamsa, Aruna parallels the aspects of the devil and the divinity embodied in each of us through sensitive acting, dance movements and judicious use of theatrical devices.
The scene in which Lord Narasimha steps out of the pillar made a strong visual impact. (Lighting Design: Ramesh Chandra Jena). Though both were the embodiment of evil, the subtle differences in the characterization of Ravana and Kansa were subtly conveyed by Aruna through her acting. There was an impressive use of hastastha, alternating between the front and back of the palm using the pataka mudra to represent good and bad.
battlefield scene
The thoughts of Arjuna seeking answers from Krishna on the battlefield, the Vishvarupa philosophy embodying the all-pervading form of the Supreme Lord, the various aspects and forms of creation, philosophical ideas and abstract concepts were explored through dance, but were played back screen. But the projection disturbed the flow.
A musical ensemble of just three musicians provided a rich auditory treat. Matriprasad Das’s soulful singing along with Agni Mitra Behera’s graceful, melodious playing on violin and Bijay Kumar Barik’s mardala enhanced the dance sequences. The dancers changed their costume color scheme for each item – the muted color palette and aesthetic drapes were impressive.
The dancers in the team were Madhumita Naik, Sripunya Mohanty, Ananya Parida, Sayani Chakraborty, Nalu Samal, Bijan Kumar Palai, Pratap Bariki, Chinmay Behora and Subham Kumar Ojha. The music compositions were by Bijay Kumar Jena and Ramhari Das. The rhythm is composed by Dhaneshwar Swain and Vijay Kumar Barik.