On the steps of the historic Asiatic Library in Mumbai, two consummate artistes invoke the god of love.
‘Love and nature’ is binding and this eternal theme makes it possible to string together two classical dance forms Bharatnatyam and Odissi.
Vaibhav Arekar with his evocative choreography and intense energy expounds Bharatnatyam, while Sujata Mohapatra is a picture of ethereal Odissi grace. Together, their presentation Madana Rati on the king of love and his consort aptly represents Samavaya (coming together) or the confluence of art forms.
“We wanted to show various forms of love in human being, nature, and the creatures and how it can be spread,” says Mohapatra, a disciple and daughter-in-law of the late Guru Padmavibhushan Kelucharan Mohapatra.
Clearly, love was a dominant theme be it the Ashtapadis of Gita Govinda that was performed by Mohaptra and her two Russian disciples or the Hasya Rasa that depicts the fraternal fracas between Lord Ganesha and Lord Karthikeyan, presented in Bharatnatyam style by Arekar.
The songs in Gita Govinda symbolise the eternal love of Lord Krishna and his beloved Radha.
A treat for aesthetes, the Mumbai Sanskriti festival was held on January 10 and 11, the second day of which featured the dance duet by Arekar and Mohapatra.
“The organisers have given lot of thought to the festival, the ambience was great. I have performed in a number of festivals in Mumbai, but dancing with an artiste of the calibre of Vaibhav (Arekar) and the reciprocity from the audience is heartening. We should support this kind of festivals. Artistes should perform their art and show and share their love,” says Mohapatra.
Promoting conservation sense among Indians through art forms is worthy of mention, but when foreigners participate in the process it becomes incredible.
Keeping pace with Mohapatra in her Odissi recital were two of her students who happened to be from Russia. “They had come all the way from Russia to learn classical dance and I thought it would be fitting if they were given an opportunity to participate in the festival. When non-Indians show so much love for our classical dance, I think it has to respected. As a Guru, it was challenge for me to teach them and make them proficient for stage. However, here’s where real sharing takes place. We have to respect those who respect our art,” says Mohapatra.
The festival, an initiative of the Indian Heritage Society, aims to promote heritage through living arts.
“The Asiatic library was a beautiful venue. I had seen a couple of performances during the Kalaghoda festival, and was keen to perform here. We need to have more such festivals in India. I remember seeing a musical festival in Paris against the backdrop of the Opera House. Surrounded by beautiful architecture, you get to enjoy music and dance under the open sky,”says Arekar, who feels classical dances being a living heritage it’s only apt that they are used to create a connect with the people.
Arekar says it’s only now that dances are performed in closed auditoriums. “Auditorium is a quiet, serene place and you have your own space. On the other hand, open spaces can be liberating. The audience was huge, yet there was a sense of intimacy, as we could actually see and feel their response. Yes, you have to contend with the external sounds. Yet you get the feeling of dancing for nature, being one with it. I look up and I can see the sky and the stars, not the ceiling or artificial lights. There is different connect which finally goes beyond the audience,” says Arekar. He says the audience for such performances are plenty.
“As people graduate to the high income groups, art becomes important. People want to do something that’s is appreciated rather than just earn. The discerning are coming in, and they do value it if something unique is presented to them; at the same time they reject the run of the mill and the mediocre,” says Arekar.
Arekar, who along with Mohapatra, presented a singular interpretation of the Madana Rati says conceptually change was important, but more than that the way a theme is projected can hold audience interest.
“Myths are being reinterpreted, but how much do you invest in them. How you incorporate them in your repertoire is important. Doing something just for the sake of selling it won’t work. I have seen lot of contemporary work that is treated shoddily. However, if you have something to tell in a unique way it will be lapped up.” he says.
“Take the case of Nirbhaya case, which is a contemporary issue. Are we willing to invest in knowing what Draupadi would have felt in the same situation There should be deep thought and understanding of the art, music, traditions, if you want to change something,” adds Arekar.
