ADA Rangamandira in Bengaluru witnessed an evening of Odissi performances by three groups. It was an aesthetic experience to see the Siya Ram saga, which, though eternal and perceived and performed in different shades by all genres of Indian dance, in traditional form or folk theatre form, one never tires of it. The epic story of Ram and Sita is vast, and more often than not, episodes are taken from it and presented in performances of great beauty. In the chosen segment of the Ramayana, the scene is the tranquil yet sorrowful garden of Ashoka Vatika, where a gentle breeze rustles through the leaves, whispering tales of an eternal love. There sits Sita, the epitome of grace and devotion, held captive by the demon king Ravana. Her heart, a delicate flower, blooms with memories of her beloved Rama, yearning for his embrace. She closes her eyes, and her thoughts drift back to the first time their eyes met, a moment that changed their lives forever. In the story, love and destiny intertwine, and the timeless tale of Sita and Rama unfolds, a beacon of love, faith, and fortitude, exemplifying unwavering commitment, unconditional support, unflinching courage, undaunted valour, unshakable devotion, unfaltering hope, unbreakable resilience, and the unassailable triumph of good over evil. With invaluable inputs on the script from Ashtavadhani, Ganesh Bhat Koppalatota, and the noted Odia poet, Shri Kedar Mishra; to the music composition of Rupak Kumar Parida in Raag and taal Malika, along with the rhythm composition of Guru Dhaneswar Swain, dance direction and choreography by Madhulita Mohapatra—a Bismillah Khan Awardee—was presented by the Nrityantar Dance Ensemble. Reshmi Divakaran was in the role of Ram while Madhulita Mohapatra was Sita Lakshmana: Nandhana Sashikumar; Hanuman: Aditi Das; Jatayu: Prishna Sinha; Ravana: Sahana Raghavendra Maiya; Manthara: Dr. Anupama Kumar. Kaikeyi was Nandhana Sashikumar, while Angeleena Avnee was in the role of Maricha. King Dasharatha was Sumana Das, and Surpanakha was Soni Tarasia.
Mentor Madhulita Mohapatra, who is credited with many accolades and awards, has carved a niche as one of the leading Odissi exponents in South India. An ‘A’ grade artiste of National Doordarshan (DD National) & an empanelled artiste of Indian Council for Cultural Relations (ICCR), she has received prestigious awards like IIDF 2017, BCKA Yuva Kala Pratibha, Aarya Award for Women Achievers, Arathi Kala Ratna in Phoenix, Arizona, USA & the GTF Women’s Excellence awards. A disciple of Guru Shri Gangadhar Pradhan, Guru Smt. Aruna Mohanty, Guru Shri Pabitra Kumar Pradhan, and Guru Krushnachandra Sahoo, she is admired and applauded by the connoisseurs & critics alike for her profound artistry and her innate abhinaya quality. Madhulita Mohapatra has performed at several prestigious events across the country, like the Konark Festival, Taj Mahotsav, Mukteshwar Festival, Dhauli Mahotsav, and Bengaluru International Arts Festival, among others, in India and abroad. Nrityantar’s productions, such as Mirza and Sahiba, Shoonya to Sufi, Dharmapada, Savitri and Satyavan, and Colours of Krishna, have been highly acclaimed by audiences for their artistic excellence & creativity.
The next performance of the evening was by Padmashri awardee Guru Ramli Ibrahim and his Sutra Dance Theatre. A tapestry of Odissi repertoire of the late Guru Debaprasad Das style was by Sutra Foundation from Malaysia. They presented their four signature pieces: Mangalacharan (Ganga Taranga), Sthai, ashtapadi Lalita Lavanga and Suryastaka.
Artistic Director and Chairman: Datuk Ramli Ibrahim; Dancers: Geethika Sree, Tan Mei Mei, and Vickneshwaran were the other dancers. Ramli Ibrahim is a renowned dancer, choreographer, and cultural ambassador who has significantly shaped the global appreciation of Indian classical dance, particularly Odissi and Bharatanatyam. Trained initially in ballet and traditional Malay dance, his journey took a transformative turn in India, where he studied under legendary gurus like Adyar K Lakshman and Kalanidhi Narayanan in Bharatanatyam and Guru Deba Prasad Das in Odissi. As the founder and artistic director of Sutra Dance Theatre and chairman of Sutra Foundation in Kuala Lumpur, Malaysia, he has created a unique blend of traditional & contemporary dance, captivating audiences worldwide. His remarkable contributions have earned him numerous accolades, including the Padma Shri (2018), the Sangeet Natak Akademi Award (2011), and the Datuk title from Malaysia, recognising his impact on cultural preservation and innovation. His works transcend mere performance, often exploring deeper themes of spirituality, human relationships and social issues, establishing Datuk Ramli Ibrahim as a visionary in the world of the arts and a pivotal figure in bringing Indian classical dance to global prominence. Ramli gave a glowing tribute to Madhulita Mohapatra. He said, “What came out was the enduring essence of the human spirit that Dance was able to bring to the fore.” “The positivity of the organising team led by Madhulia, together with this ‘lightness of being’ in a friendly environment, was the intense engagement that took place.”.
The concluding performance of the evening was by Devjani Sen and her Odissi Dance Centre from Bengaluru.
Rasamanjari Pallavi was a lyrical, pure dance composition that is often compared to the blossoming of leaves on a tree. The theme was explored using a rhythmic taal, which then developed in variations. The dance has been choreographed by Devjani Sen. The music has been composed by Binod Panda in Raag Khamaj, and the taal was in Chaar matra. Music accompaniments included Binod Bihari Panda (vocals), Guru Sachida Nanda Das (mardala), Shri Abhiram Nanda (flute), Shri Rabi Shankar Pradhan (sitar), and Shri Sanjiv Kumar Kundu (violin).
The dancers for this evening were Aditi Rajpal, Akshatha N. Tirumale, Anavi Mullick, and Sohini Guha.
The second piece presented was the Hanuman Chalisa. It was set to Raag Maalika, Taal Maalika. Dance choreography was by Devjani Sen, music composition was by Shri Sukanta Kumar Kundu, rhythm composition was by Guru Dhaneswar Swain, and tabla and khol were played by Ajay Kumar and Ranjan Joshi.
Devjani Sen, an esteemed Odissi dancer and founder of the Odissi Dance Centre (ODC), Bengaluru, has dedicated over 16 years to nurturing and propagating the art form with a commitment to excellence through her institution. A disciple of the great Guru, Guru Kelucharan Mohapatra, she has been trained by Amala Shankar too. To her, ‘Dance is Sadhana’ and ‘Teaching is Dharma.’ Her Odissi Dance Centre, with two branches in Bengaluru, is renowned for its rigorous training and innovative productions.
The writer is a senior dance critic