When the artistes of Srjan, Bhubaneswar presented Synthesis at Ravindra Natya Mandir, Mumbai on 12th November 2016, it was a departure from traditional Odissi based on Indian mythology and sculpturesque poses. Performed in a style called neo-classical Odissi, this dance composition is characterized by contemporary movements, synchronous music and abstract elements and represents the changing face of Odissi dance.
One of the eight classical dance forms of India, Odissi has evolved continuously over the centuries to take its present form. While legendary gurus like the late Kelucharan Mohapatra, late Pankaj Charan Das and late Deba Prasad Das are credited with establishing the scientific basis and structure of Odissi, many senior gurus are now moving beyond these traditionally defined boundaries. They are exploring new themes, styles and techniques in the presentation of this ancient art form.
Sharmila Mukerjee, who runs the Sanjali Centre for Odissi Dance, Bengaluru, recently adapted a Kannada play by A. K. Ramanujan to Odissi. Her dance ballet, Sookshma, explores social and environmental themes with Carnatic elements in the music and costumes, while preserving the traditional style of Odissi. “When you choose a different theme, an unconventional theme, it is necessary to see how it fits into the dance form in an aesthetic manner while keeping the audience in mind,” says Mukerjee in a telephonic interview, about exploring new choreographies. She highlights the shift in presentation of Odissi from a solo to a group dance form, due to changing audiences and trends. “Full-time solo dancers are rare these days. It takes a different kind of dedication to pursue solo dancing because Odissi is now much more than just about presenting a Margam (repertoire).”
Daksha Mashruwala, founder of Kaishiki Nrityabhasha, Mumbai, has explored Odissi beyond Indian stories and folklore. “Culture is a reflection of the society we are a part of,” she says reflecting on the paradigm shift in the presentation of Odissi on stage and diminishing philosophical and spiritual nuances of the dance form. She says that today, everyone wants to see the use of technology in everything around them. Dance is now about the complete package, with new choreographies, visual effects, lights, original music, stage décor and costumes. Indian classical dance has traditionally covered Indian mythology and folklore. But in her production Crossing Oceans, Mashruwala presents stories from Greek mythology, Aboriginal folklore and Japanese tales. “The challenge is to keep our aesthetic sensibilities and the Indian ethos intact while presenting these through our bodies and through the language of dance,” she adds.
Collaborating with contemporary dancer Raka Maitra and musician Hindol Deb in Crossing Oceans, Mashruwala speaks of the scope of expanding the content of Odissi. Talking about the process of choreography, she says that a dancer’s aesthetic sensibilities are personal. Each person tries to carve a niche for themselves in an area they are passionate about. In a class, everyone is taught the same dance by the same Guru but no two dancers are alike in their interpretation of it. This, she says, is reflected in the themes that choreographers choose to depict.
Her disciple, Namrata Mehta, in addition to teaching and performing traditional dances, also conceptualizes her own dance pieces. “Unless you have a strong knowledge of the grammar of the traditional dance form, it is very difficult to execute a new concept,” she says on the importance that young dancers must give to the basics of dance, while keeping an open mind to new ideas. She stresses on the need for more people to be involved in classical dance. “Every dance form has an audience, so while you do cover social concepts and heavy messages, the audience as viewers are also present for entertainment. There is a need to balance the two,” Mehta says.
Other gurus such as Ratikant Mohapatra, Sharmila Biswas and Madhavi Mudgal, have all delved into the nuances of contemporizing Odissi. Mohapatra explores neo-classical Odissi in Synthesis and other compositions, Biswas explores rural themes in depth and Mudgal is known for her rhythmic intricacies. Nrityagram, Bengaluru has also continuously been expanding the movement vocabulary and oeuvre of Odissi worldwide. All these reflect the dynamic stage that Odissi dance is presently in. For a dance form with a history of over 2000 years, gurus these days feel that there is a lot more to know and expand in Odissi. The possibilities are enormous and the Odissi community is fortunate to have these stalwarts continuously breaking the norm and exploring new aspects of Odissi.
(A finalised draft of this article was published in Vignettes, the magazine launched in 2017 by the Journalism and Mass Communication batch 2016-2017 of Xavier Institute of Communications, Mumbai.)
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