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Ode to Oddissi: Ipsita Behoora.

Ipsita, a disciple of Kelucharan Mahapatra, presented ‘Vishnuvandana’ from Geet Govind with graceful movements and devotion. The ‘Sanwari Pallavi’ was marked by remarkable bhangis and charis.

This was performed by Ipsita’s disciples Geeta Tripathi and Gauri Misra. Ipsitastood out in her abhinaya piece, where she portrayed Yasoda putting Krishna to sleep after much coaxing and threatening.

The famed Shankarabharana pallavi from the Oddissi repertoire was another charmer. The ukutas of the mardala player coupled with graceful movements by Ipsita, Snigdha Patajoshi and Panchanan Buinya were enrapturing. Another rhythm-oriented item was one describing instruments such as pakhwaj and manjira, which saw the confluence of styles of Gotipua and Oddissi.

The second day saw a breathtaking Kathak performance by Mamta Maharaj, daughter of the Kathak doyen Birju Maharaj.

The recital started with ‘Ardhang,’ describing the masculine and feminine aspects of Shiva. ‘Upaj’ saw Mamta in her element, improvising to the vigorous Paran bols and soft amads. After performing the misra jathi of seven beats with clarity and precision, she executed various tihai patterns that are performed in her gharana of dance.

Slightly more thematic executions were of gaits (‘gat’), patterns of ‘ghoonghat’ and ‘bansuri’ (flute).

A khandita nayika was depicted in ‘Kahe ko mero ghar aayo.’ The nayika is finally charmed by the music of the lord’s flute. The programme was organised by India International Rural Cultural Center and Kerala Fine Arts society.

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