Konark Dance Festival: Transporting to wonderland of classical dances

At the very outset I would like to congratulate Odisha Tourism, Odisha Tourism Development Corporation Ltd, Odisha Sangeet Natak Akademi, Guru Kelu Charan Mohapatra Odissi Research Centre, Utkal University of Culture and department of culture, the government of Odisha and various other agencies and persons involved in mounting this magnificent dance festival in the backdrop of shikhar of Konark temple. Under the starlit sky in the open air, with hundreds of small electric bulbs, turning the entire nearby area into a magic place, people trooping in from various directions filling up the large auditorium to witness the mythological stories opening up before one’s eyes, what more can one ask for?

Each year from December 1 to December 5, over 23 years now, this festival has drawn crowds to come to Konark to relish multiple varieties of our cultural heritage. Legendary dancers and gurus have performed here leaving their imprint of great art, enriching one’s memories.

The atmosphere is all agog with excitement. The idols of Lord Jagannath, Goddess Subhadra and Lord Balaram are placed on one side of the large stage with a tall brass lamp, evoking a sense of devotion. Far away in distance is seen the shikhar of Jagamohan of Konark temple. There is an excitement in the air. Watching the dancers perform, the musicians tuning their instruments and these performances are live streamed on Doordarshan Bharati. The dance aficionados all over the country eagerly await its telecasting from 6 pm. Experienced announcer and a familiar face for more than three decades Sadhna Srivastav along with Prof. Mrityunjay Rath (he gives announcements in Odiya), welcomes the large gathering giving, in a nutshell, the historical background of the great temple and inviting the dignitaries to light the ceremonial lamp.

After the ritual, the first programme is announced — Nirvana Shatakam — choreographed in Odissi by Guru Durgacharan Ranbir, the worthy disciple of Guru Deba Prasad Das. He has been hailed as a vastly gifted guru with visual and graphic imagination. Within a span of 70 years, Odissi dance has made great strides and has spread world over.

The abstract theme epitomised in Adi Shankaracharya’s Nirvana Shatakam, Shivoham, Shivoham, found a felicitous expression in Guru Durgacharan Ranbir’s choreography. The anecdote is as follows: Shankaracharya as a child once was in search of a guru and met Guru Govinda Bhagavatara on the banks of river Narmada. But he did not give him any diksha. The self-realisation Shankaracharya received was of the highest order. His understanding that he was free from all suspicions, he was neither a captive nor a free person, but was blameless. Chidananda, the ananda, joy of his mind, and was himself Shiva. The speculative and philosophical concept like Brahma is the cause and Brahma is the effect, there is no vyoma, akash, no vayu, but ultimate is the Shiva ,with refrain of Shivoham Shivoham, I am Shiva, resounded in Hamsadhwani raga and the entire environment was soaked into a transcendental feeling.

The six male dancers and other female dancers performed this abstract concept with solid training, the basic Odissi position of chowk, the square position was firm and the bhramaris, pirouettes were flawless. Pure dance, nritta mingled in a seamless manner to the concept of showing akash, vyoma, vayu, speech and silence and joy of mind Chidananda to the melodious singing by the musicians and rhythm. An array of established and renowned musicians complemented the choreography. That our scriptures can convey through dance and music such wisdom addressing us to concentrate on oneself and to discover the God within us, is indeed something rare.

Another major production was from Surya Purana. The story is told by two kathakars about how Samba, son of one of the wives of Krishna, committed indiscretion by peeping into Rati Bhavan (pleasure palace) when Lord Krishna was dallying with his eight wives. Noticing that Krishna cursed him that he would suffer from incurable disease and would die.

Lord Narada meanwhile was passing through Dwaraka and saw the plight of the sinner. He begged of Lord Krishna to remove the curse and forgive him. He told Samba that he should go to Ark kshetra and do penance. Then Lord Surya would be pleased and through his rays cure him from the disease. Samba goes to the river side and does penance. There, several people were doing yoga, shirshasana, standing on head. Finally pleased by his penance Lord Surya cures him from the disease.

The choreography concentrated on shrinaga rasa with Krishna in Rati Bhavan. The dallying with various wives, including Rukmini, Satybhama, Krishna was shown playing with wives in various amorous positions. The manner in which Durgacharan has choreographed, it was quite arresting. The transformation from a normal young man into a diseased one was effective. His penance on the river bank with others practising yoga, including surya namaskara were imaginatively presented.

But the most effective was the creation of the chariot of Surya with seven horses and traversing the sky. In such compositions Durgacharan Ranbir scales great artistic heights. It was spectacular.

The release from the disease and getting cured led to final moksha. Very artistically Moksha, the last item of Odissi, was interwoven in the narrative.

Rama Vaidyanathan, the celebrated Bharatanatyam dancer with her 12 female dancers, including her daughter Dakshina Viadyanathan Baghel, took to the spacious stage with two levels, projecting the Devi, Goddess in her multiple forms, emerging from below coming up to the main stage which looked magical. What involved the large audience was her dance number Kashi, a bhajan by Swati Tirunal where the nayika invites all to go with her to see Lord Vishweshwara. Rama came to the front of the stage and invited a large gathering of audience to go with her. The effect was astounding. An imaginative dancer, choreographer, she created before us Kashi, the river Ganga, the ghats, and the Tandava of Lord Shiva, danced with energy by Dakshina, to the Ravanastotra, recited by Dr Vasudevan conducting nattuvanagam. Ganga’s pride was challenging Lord Shiva to capture her in his matted locks was most imaginatively shown Rama as Ganga and Dakshina as Lord Shiva, in combat and finally she was caught and was flowing like trickle from Shiva’s jata, the dancers turning into flowing river. The audience gave dancer a thundering ovation. Similarly solo by Rama as Ardhanari form of Shiva was another artistic coup and the devotees watched with their wide open eyes the divine form. Sudha Raghuraman’s excellent singing with pauses was superb. Rama brought another brilliant touch with dancers holding lamps for aarti of Ganga. Kashi came alive. A mere six-line song turned into Kashi with array of visuals, which Rama created eloquently. The dancers looked like ballerinas from Bolshoi, as their flawless, perfectly synchronised dancing cast a spell. And the final Tillana with lighting from below lit up dancers by light designer Deepa Dharmadhikari that created exquisite visual. Bravo Rama, all dancers and the musicians. It was one of the highlights of the festival.

Second day saw from Chhattisgarh, a troupe of Kathak dancers led by attractive Yasmin Singh, who has been reviving the Raighar gharana, much neglected one of Kathak, which was at its height during Raja Chakradhar Singh’s time in late 1940s. Yasmin Singh and her troupe of male and female dancers performed with zest, devoting their numbers on Krishna, his Rasalila, Vallbhacharya’s Madhurashtakam and dwelt on Raja Chakradhar’s famous thumri Gori saloni tore nayana ,which like arrow aims at captivating the hearts of the beloved. None doubted their sincere attempts to project the much neglected gharana. However, Raighar gharana, despite all its efforts to revive it, has not produced any outstanding dancer that merits national attention. One wishes Yasmin and her troupe all the best in their efforts to revive the special features of Raighar gharana of Kathak.

Odissi by Ileana Citaristi and Group, Bhubaneswar

Sharmila Biswas, a disciple of Guru Kelucharan Mahaptra is known for thinking “out of the box” and a different approach to Odissi dance. Her investigations in mardala and its innumerable bols have been hailed by the discerning audiences. She has created a niche for her repertoire. Be it traditional Odissi repertoire known to all or her rendering of Odiya Bhagavata, epitomising Murchhana, the musical concept, or enactment of Surpanakha, use of props, Sharmila stands apart from the run of the mill dancers.

Exploring Sabdaswarapata of Kumbhari village, she presented duet of Shiva and Parvati, Tandava and Lasya, her dancers displayed vigour, energy, precision to mnemonics of ukutas, bols of mardala by Dhaneswar Swain, music by Ramahari Das, the use of Sabdaswarapata incorporating tantric, yogic images, searching meaning in what she titled the number as Kala Sri, the essence of movements, the mystery of body, in one number invited our attention to a song of Mukta Mahari, who gave description of various ornaments, how they were worn to decorate their bodies, the illusion watching one’s own reflection in mirror. The finale of Ghanta mardala, procession resounded with ritualistic sounds in which one saw how she deals with what may appear a chaos and therein lies an order. Her interest in asymmetry is interesting.

Hers is another face of Odissi not normally seen on stage and is in contrast to lyrical compositions of pallavis and nritta numbers. One notices a strong energetic, full of vigour characteristic in her approach. On her own admission she wants to explore the concept of sringar (decoration) and Sringara rasa, expressed through bodies, sensuous, full of rasa. Her present troupe of dancers is enthusiastic and is willing to be her partners in explorations in Odissi.

On the third evening from Bhubaneswar Guru Kelucharan Mahapatra Odissi Research Centre under the guidance and direction of Navakishore Mishra, vocalist Sangeeta Gosain, Yudhisthir Naik, Lingraj Naik the artist presented Leela Madhurya, based upon Kavisurya Baldev Rath’s Kishorechandrananda Champu, the songs which describe the love play between Krishna and Radha. This special type of literature in Odiya has poems which begin with the first word K and end with Ksha. The alphabets are so woven that the poems start with K.

The gopis watch Radha watching across Yamuna river Krishna playing with his friends. Lalita and Vishakha, the two sakhis of Radha tease her when they see that she is smitten with love for Krishna. Krishna also watches Radha and her sakhis. He dallies with gopis and begs them to convey his love to Radha. Vishakha and Lalita also tease Radha. Finally they meet and are seen dancing together and are happily united. They are seated on a swing and gopis and Krishna’s friends sing their praise.

Beautifully choreographed with simple movements, expressing joy, playing upon mridanga, clapping, dancing in circle they create the bower of Brindavan. The evergreen melodious Sankarabharanam Pallavi is introduced artistically. The finale showing the divine pair on swing with the song is a shared tradition in Odisha which audience relishes.

Sangeeta’s, as her name suggests, music is melodious. The customary support given by all musicians was commendable. The male dancers along with female dancers displayed high technique of Odissi.

From Trissure, Kerala Kuchipudi exponent Lakshmi Govardhanan, disciple of Pasumarthy Rattaiya presented Surpanakha with a twist in the end, sister of Ravan, alone in the forest after Ravan’s death, destruction of Lanka, she recalls in a flashback how when she saw in Dandakaranya, Ram and Lakshman, two handsome princes from Ayodhya, she was infatuated seeing Ram.

She wanted to unite with him, but seeing her own persona, reflection in water, she changed herself into a beautiful maiden. And approached Ram, who asked her to go unto equally handsome younger brother, who persuaded her to leave him alone and after a while cut off her nose. Screaming and turning herself into her original form she cried aloud asking what crime she committed that she was punished thus. The forest spirits were full of sympathy and repeated her question to society. The youngest of the forest spirit came unto her and consoled her. Giving her hope that she need not despair. The injustice done to her will not last long. There is hope from humanity to someone like her Lakshmi is a seasoned dancer, elegant and performs Kuchipudi with verve and quicksilver movements. The approach of sympathy for women like Surpanakha was thought out artistically. The troupe of dancers who played spirits of the forest danced in uniform manner, highlighting the Kuchipudi idiom. The soliloquy by Surpanakha was heart rending. The only comment I would like to make is of need for editing the sequence of Surpanakha dressing in detail. It should be suggestive and not elaborate to sustain the interest.

Lakshmi is a professional psychologist and therefore she brought another angle to her interpretation inventing forest spirits which show humanity which also suggests harmonious living. In open air sound poses a problem. In both presentations imbalanced sound of drums and violin respectively affected the musical side. One hoped the organisers would resolve this technical issue, so that music, which is the soul of dance, would help enhance the overall beauty of presentation.

The penultimate session featured on the fourth day from Guwahati Sattriya dances, which have since it received recognition as the eighth classical dance form become a part of national and international dance festivals. Anwesha Mahanta, disciple of SNA Awardee Adhyapak Guru Ghanakant Bora has for her outstanding performances received SNA’s Bismillahkhan Yuva Puraskar and is hailed as a brilliant performer, choreographer from young generation. She chose to present besides Jagannatha vandana, sequences from Saint Sanakardeva’s Bhagavata purana which describes 10 types of bhakti, devotion, Dashalakshana. The depiction of abstract concepts like visarga, sthana was not communicated clearly, but the episodic concepts were presented dramatically. For Manavantara how two guards Jaya Vijaya when punished took incarnations of Hiranaksha and Hiramyakashipu. The most communicative was Lord Narasimha bursting forth from the pillar killed Hiranyakashipu.

The other episode of Gajanedra Moksha also had imaginative choreography, with crocodile dragged foot of Gajendra,the king who took birth as elephant, when prayed to Lord to save him came astride Garuda and released Sudarshana chakra to kill the crocodile. Lord coming to his rescue, riding Garuda was dramatically enacted. From 10 incarnations, as Vamana, how Lord placed his foot on head of King Bali and sent him to pataal, netherland, Balaram with plough made river follow the course correctly.

Though announcement was made about the content choreographed by Anwesha, at times the presentation could not be conveyed distinctly. I suggest next time when such themes are choreographed, choreographer’s not be circulated in advance, which would help audience to follow the enactment. One would like to congratulate Anwesha for extending the devotional concept of Bhagavata purana dramatically. The Gayana Bayana in the beginning by the artists from Uttara Kamalabari Sattra was excellent. The young dancers performed nritta in a seamless manner brining out the typical features of Sattriya dance, involving the exercises of Mati akhara artistically.

Ileana Citaristi, the Italina dancer, settled in Bhubaneswar, for past 35 years, studying Odissi under Guru Kelucharan Mahapatra has often choreographed themes in Odissi which are different from the normal run of the repertoire. Indeed it was commendable on her part to present Refugee scripted by Devdas Chhotray, dealing with the social reality of the world of today attempting to bridge the world of artistic expression. The world has changed now. Victims of violence, religion and politics, thousands of innocent and non-aggressive people are becoming refugees every moment. They move on unremittingly in sand and snow, along the railway tracks and in shaky sailing boats. They have no address of their own. The landscape of the earth is now full of refugees.

Through poetry set to music by Laxmikant Palit, Ileana has choreographed the sequences which depict the plight of refugees. The walking by them in between the hills, the river made of tones, they keep walking, dragging their feet, even without strength, the refugees keep walking. That section was performed well by the group. They sing saying if only we could hold each other’s hand and hug each other in passion, because love is neither carved by geography nor controlled by geometry.

Whereas one would congratulate Ileana for extending the thematic boundaries with such themes, the venue of Konark Dance Festival is not the correct venue. Somehow such themes do not go well with audience because of the predominance of mythological stories and enchanting music and eye-filling, graceful nritta, pure dance numbers which aim at entertainment. Her institution, Art Vision, and her disciples have sound training and translate the theme as choreographed by Ileana successfully. She has grit and determination and has an open mind.

That she is equally seeped into tradition, mythological stories, fabulous Sanskrit poetry of Kalidasa, was brought home by her choreography of Kalidasa’s Bhinna Pravaha, depicting flowing rivers like Ganga and Yamuna with exquisite simile of the poet, the white pearls like Ganga’s flow and blue jewel like Yamuna’s. Saswata and Ileana’s duet with backdrop of group of dancers was visually attractive. But alas, the sound system failed miserably and turned into cacophony and the beauty of poetry and music was lost.

I could not attend the festival on final day when Kathak dancers of Kadmab institution of legendary choreographer Kumudini Lakhia, paid tribute to her through dance. The other presentation was by the renowned Odissi dancer Ranjana Gauhar’s group choreographic work.

A festival of grand repute, the like of which is Khajuraho Dance Festival, Konark Dance Festival needs to pay attention to the requirement of sound for music, which is soul of dance. Music was the big causality of the otherwise excellent dance festival. I hope the authorities would set the technical requirements right on a war footing to regain the reputation as finest dance festival.

The writer is an eminent dance historian