Bhuvaneshwari — The Odissi Summit at the India Habitat Center || A Mesmerizing Introduction to Odisha's Lyrical Classical Dance

This last Sunday turned out to be extremely lucky for us. We had partied late on Saturday night. And when we woke up on Sunday, we were totally oblivious of what was going on in the world. Left to our own devices, we would have vegetated. However, fortune struck in the form of Vijay's cousin, who confirmed that he would be visiting us that day. This would be his first visit to our place and we wanted to make sure that he has fun. So we searched for what was on in Delhi and struck gold.

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There were two programs of interest. The first one was Jashn-e-adab. 

And the other was Bhuvaneshwari — The Odissi Summit. And both were at the India Habitat Centre and sounded interesting. While Jashn-e-adab was to be at the amphitheater and Odissi recital was to be at the Stein Auditorium. So we got ready and left for IHC. 

This would be the first recital of Odissi that I would get to witness and I was really excited about it. 

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Odissi can be traced back to the ancient temples of Odisha, where dance was part of the worship. 

Temple sculptures from as far back as the 2nd century BCE depict dance postures that resemble Odissi. 

In ancient times, the dance was performed by "Maharis" (temple dancers) as an offering to the deities. 

During colonial rule, Odissi faced decline, but in the 20th century, revivalists worked to bring it back to prominence, transforming it into a celebrated art form. 

Odissi was officially recognized as a classical Indian dance form in 1958 by the Sangeet Natak Akademi, India’s national academy for music, dance, and drama.

Odissi is known for its flowing, lyrical quality. The movements often reflect the waves of the sea, paying homage to Odisha's coastal culture. A unique feature of Odissi is the "tribhangi" (three-bend) posture, where the body bends at the neck, torso, and knee, creating a distinctive 'S' shape. This posture can often be seen in how Lord Krishna playing his murli is depicted. This posture, along with "bhangi" (simple stances), forms the core of Odissi's aesthetic. The "chowk" stance is one of the foundational postures in Odissi dance, symbolizing strength and stability. In "chowk" the dancer’s knees are bent, feet are turned outward, and the torso is aligned vertically, giving the body a stable, square form.

 

Odissi dance is typically performed to Odissi music, which is based on ragas (melodic frameworks) and talas (rhythmic cycles) specific to the region. It often accompanies a distinctive form of singing known as "Odissi music," which is lyrical and uses both drums and stringed instruments like the pakhawaj, sitar, and violin.

The Odissi Summit in the India Habitat Centre was conceptualized by Prof. Oopalee Operajita, Distinguished Fellow, Carnegie Mellon University, disciple of Guru Kelucharan Mohapatra and Guru Debaprasad Das. Padma Vibhushan Dr Sonal Mansingh, a celebrated Indian classical dancer and choreographer known for her mastery in Odissi and Bharatanatyam, also graced the event with her presence.

The event saw performances by two troupes. The first troupe comprised of Sikata Das and Leena Nanda, ensemble dancers from Guru Kelucharan Mohapatra Odissi Research Centre - Odisha. 

Both performers were senior and seasoned. Sikata Das's abhinaya and Leena Nanda's grace provided the perfect introduction to Odissi for us. After performing Mangalacharan, the troupe performed a pallavi, followed by a solo performance by Leena Nanda, and then another duet pallavi.

After this Dr Sonal Mohapatra took the stage and shared the story of her initiation into Odissi. She started off with Bharatanatyam and started learning Odissi only after her wedding. Her father-in-law introduced her to Guru Kelucharan Mohapatra. He later requested the Guru to train her to perform "Kuru Yadunandana", which he felt was worthy of being performed by a grown-up woman. 

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She also educated the audience about some Odissi postures. It was during her speech that I realized that almost all ancient temples in Odisha have sculptures of Odissi dancers. Dr. Mansingh very easily owned the stage. Such command only comes after decades of sadhana.

After this, Jyoti Shrivastava and her troupe of young girls took over the stage. The girls performed group pallavis. It was mesmerizing to see their coordinated movements. They looked like dolls as they danced their way on and off stage. They reminded me a lot of Thanjavur dolls. The event concluded with a stunning abhinaya by Jyoti Shrivastava. However, the visuals stayed with us for a long time after that. 

This was indeed a perfect introduction to Odissi for us. Since then, I have searched the Internet and watched multiple Odissi performances by renowned artists and have realized how uniquely each artist renders classic pieces. It is a true delight for the senses.