Odissi dancer Madhulitha Mohapatra, curated a two-day Naman pageant just lately in Bengaluru.
| Picture Credit score:
Particular Association
Odissi, one of many classical dance kinds, is marked by swish postures, emotive facial expressions, vivid costumes, and make-up. Pallavi, Ashtapadi, and Oriya poems, and Chaukha and Tribhanga stances kind the essential motion via which Odissi dancers convey feelings, depict numerous characters, and inform tales. The myriad sides of this dance model have been explored via a sequence of performances at this yr’s version of ‘Naman’ pageant, curated by Madhulita Mahopatra in Bengaluru, below the banner of her dance faculty Nrityantar Academy of Performing Arts.
Unfold over two days, the pageant showcased performances by a number of the eminent Odissi dancers from throughout the globe, and in addition platformed younger dancers, who’re coaching below Madhulita.
Day two of the pageant featured college students of Nrityantar Ensemble who revisited the Ramayana of their manufacturing ‘Siya Ram- The Everlasting Saga’. The visualisation, showcasing Sita sitting in Asoka Vana and reminiscing about her life, rapidly moved to focus on many important moments from the epic
With inputs from Shatavadhani Ganesh Bhat Koppalatota, and Odiya poet Kidar Mishra, the occasions unfolded seamlessly. Via vibrant musical rating and tremendous choreographic sample it sustained the viewers’s curiosity all through.
Madhulita’s Siya Ram
Siya Ram: The Everlasting Saga introduced by Madhulita Mohapatra and her studnets of Nriyantar Academy of Performing Arts on the Naman pageant 2024, in Bengaluru.
| Picture Credit score:
Srivatsa Shandilya.
The dancers’ dedication was evident in the way in which they moved via assorted sequences in fast succession. . Madhulita’s light and delicate portrayal of Sita, mixed with the depiction of different characters — the calm and dignified Rama by Reshmi Divakaran; the ability and vigour of Ravana by Sahana Raghavendran; and the flighty deer Maricha by Mandana Sasikumar — in addition to the function of Hanuman, Surpanaka and Jatayu have been compelling performances.
The dancers have been Nandhana Sasikumar, Aditi Das, Prishna Sinha, Anupama Kumar, Angelena Avnee, Sunana Das and Soni Tarasia.
Rupak Kumar Parida’s ragamalika-talamalika musical soundscape and Dyaneshwar Swain’s rhythm composition captured the essence of every sequence properly. Costumes and lighting design additional enhanced the affect.
Ramli Ibrahim’s ‘Invitation to Odissi’
The following efficiency of the night, ‘An invite to Odiisi’, was by Ramli Ibrahim and his Sutra Dance Theatre. They introduced Mangalacharan (Ganga Taranga), Sthai, ashtapadi Lalita Lavanga and Suryastaka, from Ramli Ibrahim’s guru Debaprasad Das’s repertoire. Guru Debaprasad was identified for his signature model that emphasised on the highly effective and dynamic stances of the Odissi model.
Ramli, as Sutradar, danced in a dignified method, weaving his method out and in throughout important moments narrating the circulate of occasions. An outline of the descent of the Ganga, and the emergence of Vickneswaran from the rear as Shiva, have been highly effective depictions.
Ramli Ibrahim and college students of Sutra Dance Theatre selected 4 compositions from guru Debendar Das’s repertoire for his or her thematic efficiency at Naman pageant in Bengaluru.
| Picture Credit score:
Srivatsa Shandilya
In one other composition, the temple sculptures appeared to return alive with swish moments that alternated between the sculptor and the sculpture, accentuating the inherent fantastic thing about this dance model. The dancers Tan Mei Mei, Geethia Shri and Vickneswaran conveyed the theme successfully via mime and motion.
Devjani Sen’s ‘Rasamanjari Pallavi’
Devjani Sen and college students Akshata Tirumale, Anavi Mullick and Sohini Guha presenting the Rasamanjari Pallavi on the Naman pageant in Bengaluru.
| Picture Credit score:
Srivatsa Shandilya.
The night concluded with the performances by Devjani Sen and college students of her dance faculty, Odissi Dance Centre. Akshata Tirumale, Anavi Mullick and Sohini Guha introduced ‘Rasamanjari Pallavi’, which introduced out the grace of Tribhangi and Chauka dance actions in an aesthetic method. This was adopted by a dance presentation based mostly on ‘Hanuman Chalisa’. Set to Ragmalika-talmalika, and choreographed by Devjani Sen, the exploration was inspiring, nevertheless it didn’t fairly lend itself to bounce.
Starting from capturing the essence of The Ramayana, to revisiting the choreography of guru Debaprasad Das, and weaving a wealthy tapestry to depict Hanuman Chalisa, the two-day pageant ‘Naman‘ introduced out the sweetness and beauty of Odissi dance. to the rasikas in Bengaluru.
Revealed – October 07, 2024 05:33 pm IST
