In keeping with his professional excellence, classicism, and hard-core ability to move with the times, Ratikant Mohapatra’s creativity and managerial skills as director of Srjan, has enabled him to handle the pandemic scenario to catch up with the practice of online programmes. He successfully presented the 26thOMC Guru Kelucharan Mohapatra award festival by streaming live performances with music accompaniment on a proper stage or studio. This gave the viewer a feeling of watching the programme in an auditorium.
The Governor of Odisha, Prof. Ganeshi Lal presented the awards with adherence to government mandated Covid 19 safety guidelines. This year’s sole recipient of the Guru Kelucharan Mohapatra Award was veteran cinematographer Raj Gopal Misra -- for his invaluable contribution to Odia films. The Guru Kelucharan Mohapatra Yuva Pratibha Samman went to Prabhat Kumar Swain for Odissi dance and Himansu Shekhar Swain for Odissi music.
Inaugurated by Hema Malini (Rajya Sabha member and erstwhile dream-girl of the Indian screen) on the digital platform from Chennai, Srjan dedicated the festival to the doyen Pandit Jasraj and to Jaidev Das, multifaceted theatre personality, light-designer and a long time associate of Srjan.
This festival saw the introduction of Vilasini Natyam -- the temple dance from Andhra Pradesh, and quite a few of the talented present generation artists.
Dances
The festival opened with Madhusmita Mohanty’s Odissi recital. The ritualistic mangalacharan, a pushpanjali, a richly choreographed and flawlessly presented Keeravani pallavi and the ashtapadi Madhave ma kuru manini,proved that she was no ordinary dancer.
P. Praveen Kumar’s feel and commitment to Bharatanatyam was fortified from the very beginning with Aditya Hridayam– the sacred verses worshipping the Sun God. With excellent agility and technical expertise, the jatiswaram in raga Abhogi, Adi tala, choreographed by his guru Narmada, was a gratifying experience, and so was the impassionate rendition of the two episodes of Purandarasa’s devaranama, choreographed by Praveen. Eulogising Lord Krishna in two episodes -- Viswaroopa darsan and the Vamana avatara saw the dancer at his best.
Kathak dancer Gauri Diwakar’s sringara based Dheerapresented in four parts, explored the mystique of the nayika with an array of themes including love, life, self-exploration, and fulfilment. While Chhabili naarsaw her technical prowess in footwork, her abhinaya skills in the cult numbers -- the Bindan in thumri Sab bann than aai Shyam pyari re followed by Naino ke dorey, and the concluding Meerabai composition Sanware ki drishti did not impress as the facial expressions seemed static. It was a pity that the names of the legendary composers of the third and last numbers were announced in the reverse order.
Consummate dancer Purvadhanasree offered a spectacular performance of Vilasini Natyam. Her training and art were reflected in the choornika, she was exemplary in the jatiswaram, followed by Sadasiva Brahmendra’s kriti, Kreedati vanamali, and concluded with brilliant abhinaya for the ashtapadis Radhika tava virahe and Pravesa Radhey.
The home production Anweshanaa had a bouquet of Ratikant’s popular and memorable neo-classical choreographies like the invocation Antara Ramavisualising the deep devotion of Hanuman, the spectacular tarana with the throbbing music of Vyzarsu Balasubrahmanyam, Rase Harimiha set to the music composition of the late Pandit Jasraj, concluding with Tulsidas’Sree Ramachandra kripalu bhajamana. The live performance was appealing and exhibited the skill and expertise of the dancers.
Music
The festival gravitated towards a variety of instrumental recitals starting from Vishwamohan Bhatts six short pieces of mellifluous ragas on his mohan veena on the first day with only a self-adjustable metronome to Dhaneswar Swain’s thundering mardala recital in Adi tala with Muralidhar Swain on the harmonium, mesmerizing the audience with quality music and rhythm, confirming once more the mardala’s reputation and vital position in solo concerts.
Santoor maestro Tarun Bhattacharya, explored the strains of the raga Bageshri with Hindol Majumdar on the tabla to offer an engaging recital; and there were canned clappings too!
The only vocalist of the festival, Abhishek Raghuram’s soulful renditions of compositions of Tyagaraja were clear, emotion-filled and shining, bringing forth the spirituality, musical harmony, and emotions with effortless brilliance and proved that language was no bar. He began with Nenarunchara composed in the rare raga Simhavaahini, Adi talam followed by Durmaargacharaa in raga Ranjani and Rupaka talam, symbolic of the anguish that Tyagaraja faced. Following this was Neevaadane Gaana in Saranga, concluding with a song on Lord Nataraja at Chidambaram, composed in Behag, Adi talam by Gopalakrishna Bharati. Abhishek was ably accompanied by Mysore V Srikanth on the violin and Anantha R Krishnan on the mridangam,
NITA VIDYARTHI
Photographs courtesy Srjan
