“I didn’t select to bounce; dance selected me,” says internationally acclaimed Malaysian dancer Datuk Ramli Ibrahim, echoing American fashionable dancer-choreographer Martha Graham. It stays one of many favorite quotes for Ramli as he stands tall on the planet of Indian classical dance. Because the founding father of the Sutra Dance Theatre in Malaysia, Ramli has been displaying an unparalleled dedication to take the nuanced and dynamic type of Odissi dance to international audiences.
Ramli was in India lately to attend Naman 2024, a prestigious annual Odissi dance competition organised by the Nrityantar Academy of Performing Arts in Bengaluru. “As dancers, you’re interpreters. The extra you give, the extra you shine. Dance or the goddess of dance is your destiny. It’s important to be mad. It’s divine insanity,” Ramli says throughout an attractive interplay with the Bengaluru dancers.
Winner of the Sangeet Natak Akademi Award for Odissi in 2012 and Padma Shri in 2018 for his total contributions to Indian classical dance, Ramli added a major layer of depth to Naman 2024 as a cultural icon with 4 many years of worldwide expertise.
At 71, Ramli doesn’t look his age. He was given a standing ovation when his troupe carried out An Invitation to Odissi, a tribute to the Guru Debaprasad Das faculty of Odissi at Naman 2024.
Love for Kerala
Throughout a chat with this paper, Ramli reminisced his memorable date with Kerala when he carried out at Nishagandhi Competition, Thiruvananthapuram, again in 2010 and 2012. “I like to carry out in Kerala. I shall be completely satisfied to carry out in Palakkad particularly,” he stated, inquisitively asking concerning the massive puppets utilized in Kerala’s conventional artwork kind Tholpavakkootthu.
The second Malaysian to be given India’s Padma Shri Award after Malaysian freedom fighter Janaky Athi Nahappan, Ramli has been India’s cultural ambassador in Malaysia. When in India, he’s Malaysia’s cultural ambassador. He modified the dance scene in Malaysia by bringing huge acceptance for Odissi there.
He has collaborated with many a world artiste. Amongst them was Malayalam filmmaker Shaji N. Karun, whose documentary named The Considering Physique was shot by the river Ganga. “The temper Shaji captured was how a dancer’s physique is motivated by its personal science and intelligence. It was by the river Ganga. Anybody who dances there may very well be touched by the traditional river’s palpable divinity,” he stated.
Ramli and his Sutra Dance Theatre have transcended many cultural, creative and political hurdles in Malaysia, together with bigotry. “As we speak, Sutra stays testimony to the liberating presence of arts in Malaysia,” he stated.
“Politics is in every single place. I’m doing Indian classical dance in Malaysia, which is present process a number of basic turmoil. It will depend on the way you negotiate. Life is so relative. What one individual thinks will not be best for you,” he informed dancers.
In India, in line with Ramli, the dancer’s physique is a temple; elsewhere, the physique is a palace and the soul is the Raja. “Dance is a metaphor, and you’re employed with metaphor,” he stated.
“Modernity,” he stated, “is an individualistic viewpoint. Custom may be very a lot a collective. Modernity can exist throughout the custom; however it’s a must to know the foundations earlier than you break them.”
Ramli Ibrahim and his Sutra dancers performing An Invitation to Odissi.
Even when admitting that Odissi has infinite potentialities, Ramli advises the dancers to be a bit extra attractive. “This can be a harder world to outlive, a world of 45-second reels. You’ll be able to’t afford to calm down on this time. You must perceive the nuances,” he stated.
An Invitation to Odissi
Ramli’s ‘An Invitation to Odissi’ opened with Mangalacharan (Ganga Taranga), an invocatory piece paying homage to the sacred river Ganga. This was adopted by Sthai, a posh dance showcasing the foundational actions of Odissi, highlighting the dancers’ technical mastery.
The ashtapadi Lalita Lavanga, a love poem from Jayadeva’s Gita Govinda, was carried out with an interaction of expressions and complex footwork. The efficiency concluded with Suryastaka, a tribute to the Solar god, which embodied the religious fervour and charm defining the Debaprasad Das type. Ramli’s transforming of those classical items didn’t merely protect custom but in addition infused them with up to date sensibilities, making the efficiency accessible to fashionable audiences whereas retaining its authenticity.
Ramli took on the position of the sutradhar (narrator), guiding the viewers via each bit, explaining the nuances of the dance actions, expressions and the storytelling custom inherent in Odissi. His presence on stage, whilst a narrator, added depth and connection to the efficiency, immersing the viewers within the feelings and mythology expressed via every dance.
Dancers Geethika Sree, Tan Mei Mei and Vickneshwaran carried out with precision and keenness below Ramli’s path. Every of them shone individually, but collectively, they wove a seamless narrative that captured the essence of the Debaprasad Das type. They obtained a full home standing ovation
Siya Ram premiere
The Nrityantar dance ensemble premiered its newest manufacturing Siya Ram to a standing ovation on the Naman competition. It was a dance drama unfolding the timeless story of affection, devotion and valour between Sita and Ram, set in opposition to the wealthy backdrop of the Ramayana.
Rashmi Divakaran (Ram) and Madhulita Mohapatra (Sita) in a romantic scene in Siya Ram.
The narrative opened in Ravana’s Ashok Vatika the place Sita was ruminating her lovely time with Ram. The flashback to the primary assembly of Ram and Sita was depicted with beautiful choreography set to a lyrical pallavi. The Swayamvara scene infused a number of power as a number of suitors, together with Ravana (enacted by Sahana Raghavendra Maiya), didn’t string Shiva’s bow, whereas Ram effortlessly broke it, symbolising his victory and love for Sita.
Rashmi Divakaran gently embodied the divine aura of Ram. The next celebratory Odia music, depicting Ram’s return to Ayodhya, captured the joyous temper. Because the story progressed, the extraordinary duet between queen Kaikeyi (performed by Nandhana Sashikumar) and Manthara (enacted by Dr. Anupama Kumar), who cunningly satisfied the queen to demand Ram’s exile, marked a dramatic shift. Manthara’s manipulative ways, portrayed with gradual, scheming actions and intense music, contrasted with Sumana Das’s portrayal of a heartbroken King Dasharatha.
Sahana Raghavendra Maiya (Ravana) searching for alms from Sita disguised as an ascetic.
The scenes of their life within the forest captured the easy and completely satisfied existence of Ram, Sita and Lakshmana, reflecting the concord and peace of their exile. Surpanakha, portrayed by Soni Tarasia, made a placing entry, mixing humour with intense drama. At first showing as a wonderful damsel, she swiftly revealed her demonic kind after being spurned by Ram and Lakshmana, resulting in a climactic second the place Lakshmana severed her ear and nostril.
The encounter with the golden deer, the place demon Maricha reworked right into a fascinating creature to lure Ram away, was mesmerising, resulting in Sita’s earnest plea for Ram to seize it. Angeleena Avnee introduced Maricha, the golden deer, to life with grace and agility as she danced and pranced throughout the stage. The stress escalated as Rama left, and Maricha’s deceitful cry set the stage for Ravana’s abduction of Sita.
Sahana Raghavendra Maiya’s portrayal of Ravana, shifting from a disguised ascetic to his true, menacing kind, was chilling, along with his highly effective dance and expressions embodying vanity and malevolence. The confrontation between Ravana and Jatayu, the noble vulture, was fascinating. The valiant Jatayu, depicted via sweeping dance actions, fought Ravana to avoid wasting Sita however was fatally clipped. The unhappy music accompanying Jatayu’s fall added a poignant layer of sacrifice to the scene.
The narrative then shifted to the efforts of Hanuman, who leaped throughout the ocean to search out Sita in Ashok Vatika, reassuring her and promising Ram’s arrival. Aditi Das’s portrayal of Hanuman was stuffed with power and devotion, and supplied a comic book aid. The ultimate battle between Ram and Ravana was a spectacle with vigorous dance actions, rhythmic use of conventional dhols and energetic choreography, culminating in Ram’s victory and Ravana’s defeat.
The Jatayu-Ravana struggle scene from Siya Ram
The reunion of Ram and Sita, marked by a soulful music, introduced a way of closure and emotional fulfilment, celebrated via a vibrant ensemble dance. Every dancer, from Madhulita Mohapatra as Sita, Rashmi Divakaran as Ram, Prishna Sinha as Jatayu, Dr. Anupama Kumar as Manthara, Angeleena Avnee as Maricha, Soni Tarasia as Surpanakha, to Sahana Raghavendra Maiya as Ravana, delivered a nuanced efficiency, with the choreography, music and execution reflecting the depth of their characters and the epic’s narrative.
Directed and choreographed by Madhulita Mohapatra, with music composed by Rupak Kumar Parida and rhythm by Guru Dhaneswar Swain, Siya Ram: The Everlasting Saga was a masterful retelling of the epic. It might depart the viewers with a long-lasting impression of the everlasting values of affection, religion and the triumph of fine over evil.
ODC efficiency
Dancers of Odissi Dance Centre (ODC) below the steering of Devjani Sen, a disciple of the legendary Kelucharan Mohapatra, introduced two dance items, Rasamanjari Pallavi and Hanuman Chalisa, every providing a glimpse into the troupe’s method to Odissi dance.
Dancers of Odissi Dance Centre acting at Naman 2024.
In Rasamanjari Pallavi, their opening piece, set to Raga Khamaj and composed by Binod Panda, dancers maintained the grace and foundational approach attribute of odissi with respectable coordination amongst dancers. Devjani’s newest choreography on Hanuman Chalisa, was set in Raga Maalika and Tala Maalika, with music composed by Sukanta Kumar Kundu. With clear narrative intent, dancers managed to convey the essence of the composition with synchronisation and power. Aditi Rajpal, Akshatha N. Tirumale, Anavi Mullick and Sohini Guha carried out for ODC.
Revealed – October 17, 2024 09:47 pm IST
