That’s the reason Odissi has survived for hundreds of years, says Arushi Mudgal to PARSHATHY J. NATH
Not many get an opportunity to bop within the presence of Guru Kelucharan Mohapatra. However 12-year-old Arushi Mudgal was fortunate. She carried out a solo piece in 1999 at Brazil.
“It was my first journey overseas. It was fairly an expertise to carry out in guruji’s presence.” He was a real genius, however he was nice enjoyable too, says Arushi. “He would mimic so properly! He was hilarious. He additionally liked taking part in video video games and watching cinema.”
On the inexperienced room in Vivekalaya faculty, the danseuse sits, shorn of adornments, carrying a easy sari and a smile that reaches her kohl-smudged eyes. She has simply completed a lecture demonstration, organised by SPICMACAY. The youngsters sat engrossed, as she defined the totally different postures to them. “Every dance type has its personal physique postures, curves and bends. Most of the Odissi ones are derived from the temple sculptures.”
She confirmed them the Tribhang, the signature stance in Odissi, the place the dancer bends her neck, torso and knees. “It’s like waves, flowing and rounded.” Arushi additionally launched the scholars to totally different devices utilized in Odissi such because the Veena, Pakhavaj, and the flute.
She requested the kids to determine the birds and animals as she enacted the actions of the peacock and butterfly “Dance is a common language. Utilizing your facial expressions and gestures, you’ll be able to talk the story to the viewers.” She instructed the kids that originally the type of dance was practised by the devadasis who danced in temple courtyards.
Arushi carried out key episodes from Krishna’s Bal Leela; the place he vanquishes Kaliyan, duels with the demons and lifts up the Govardhan mountain. “The preferred textual content utilized in Odissi dance is from Gita Govinda by Jayadeva. Items from Odiya literature additionally discover its manner into the dance.”
The scholars had a lot to ask her with their questions starting from the ornaments to the type of dance. The session wrapped up with the ultimate query – Will Odissi stand the check of time towards the recognition of mass tradition. Arushi mentioned there’s a motive why these artwork types have survived for hundreds of years. “Even when it goes away for a quick time period, it’s going to come again. The artistes ought to attain out to the youth. And, organisations like SPICMACAY should make sure that everybody has an opportunity to be uncovered to good high quality artwork.”We proceed this dialogue within the inexperienced room. Arushi says Odissi has plenty of takers overseas. “Earlier, dance types like Bharatanatyan have been extra widespread. Many foreigners are studying Odissi professionally now.”
Arushi grew up listening to classical music and watching classical dance. Artwork was within the very air she breathed. She took her Odissi coaching at Gandharva Mahavidyalaya, arrange by her grandfather Vinaya Chandra Maudgalya in 1939. She woke as much as the sounds of ghungroo and tampura. She was skilled beneath her aunt, Padmashri Madhavi Mudgal.
Arushi has collaborated with plenty of worldwide teams, equivalent to ‘Haveli’ the place musicians of various genres come collectively. One other venture was ‘Orfeo – Crossing the Ganges’, an Indo-Italian opera, ‘Swadesh’ with Mythili Prakash and Monisa Nayak and ‘Sama’, a recent work with the French percussionist, Roland Auzet that toured efficiently over two years in Switzerland, France and Taiwan.
Round 50 artistes from Europe and 4 musicians from India have been featured within the Indo-Italian opera. “And, I used to be the one Indian dancer. They used the Indian mythological angle, the place the heroine visits India. I used to be the suthradhara weaving collectively the totally different episodes of the story.”
She has additionally teamed up with the musician-duo Sikkil Gurucharan and Anil Srinivasan for a video shot by Tamil cinematographer, Divakar Mani, who can be her husband. “We choreographed a Tamil padam referred to as ‘Theruvil Varano’. The dance type will not be particular to Odissi. I’m doing a little abhinaya and actions. Divakar wished to create one thing completely distinctive.” The video is on the market on YouTube.
Gandharva Mahavidyala helps folks to get a foundational coaching within the classical arts. Yearly, children of their 20s queue up at their gates to study Odissi. “The need to study the normal artwork types will at all times stay. There might be different influences as properly. Nonetheless, the thrill is momentary. Lastly, it would be best to come again to what’s really yours,” she smiles.
And, there may be experimentation within the sphere of the normal artwork types, she says. “There may be plenty of freedom throughout the boundaries. It isn’t restricted in any respect. And, what good is freedom with none boundaries? It’s extra thrilling and difficult when you’re working throughout the construction.” And, no artwork kind can survive with out being porous to adjustments. “It’s like water that can stagnate if you happen to don’t let it circulation. You could enable adjustments to seep in.”