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In Krishna’s footsteps
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The Odissi dance drama was a treat.
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Photo: Nagara Gopal
In focus Ranjana Gouhar.
Odissi exponent Ranjana Gouhar and her disciples presented Jayadeva’s Gita Govinda as part of a classical dance festival organised by Department of Culture at the Ravindra Bharati. Ranjana came here along with dozen members
all of whom appeared to have mastered the art. Pt. Ramachandra Sahoo is a veteran vocalist and harmonium player, who did justice to whatever he did. Praful Mangaraj was on pakhawaj. Dheeraj Pandey on flute and Balaramchand on violin supported them.
On this occasion, the troupe built quick rapport with the audience with Pushpanjali that is salutation to the good earth (Bhoo Pranaam) and Goddess Saraswati. The Mangalacharan in Bhoopali is an invocation to Goddess Saraswati with sloka Manikya Veenaam of Mahakavi Kalidas.
Itisri Jena, Ashok Ghoshal, Bindita, Kavita and Sushanth presented this piece, keeping enough space for good footwork. The following number was ’Pallavi’ a traditional one in Arabhi raga. This was a mere celebration of life in pure dance, that blossomed out of lighter foot movements, then slowly gaining momentum to into complicated stepping interwoven with intricate rhythmic syllables. The undercurrent of thought was the journey of the soul from mundane to spiritual evolution. The item was marked by sculptural postures. The artistes who evolved it well were Saveri, Pallavi, Ashok Ghoshal and Ranjana Gouhar. Then followed another traditional number Botu, totally nritta oriented. The tribhanga posturing, typical of Odissi with body bends, was very much in evidence in this.
The posturing was taken out the idols we find on temple walls. The footwork led to a crescendo. Itisri Jena, Sushant Maharana Soma, Bandita, Kavita figured in this. Then Ranjana took up an ashtapadi Dheera Sameere Yamuna Teere from Gita Govinda in Kalyani, depicting Radha’s dance with Krishna on the banks of Yamuna.
The last number was the Dasavatara theme of depiction of the ten incarnations of Mahavishnu. The more interesting episodes were Kurmavatara, Narasimhavatara, Ramavatara and that of Kali, with almost all the artistes taking part in forming into different characters and also an imaginary chariot that Kalipurusha rides. Ashok Goushal’s choreography was a laudable effort, because of its ingenuity.
G.S.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
