Aruna Mohanty’s ‘Prakriti-Purusha’ makes a robust visible influence

From Aruna Mohanty’s Prakriti-Purusha

From Aruna Mohanty’s Prakriti-Purusha
| Picture Credit score: S. R. Raghunathan

The aesthetic final result of any artistic work is decided by the refinement of concepts and presentation approach. This refinement made a robust influence on the efficiency by dancers of Orissa Dance Academy, below the steerage of exponent Aruna Mohanty on the 69th annual arts pageant of Kalakshetra.

From the choreographic formations and coordination of dancers’ actions to the color palette of the costumes and musical composition and accompaniment, all the pieces flowed seamlessly.

Prakriti-Purusha, with which the efficiency started, explored the ideas of female and male ideas and the concepts of creation. The choreography, conceptualised with vigorous dynamic actions to indicate one as an embodiment of vitality and dynamism and the opposite by swish actions to indicate a state of bliss, the artistic vitality of 1 and the harmful energies of the opposite artistically captured the variety between the female and male.

Geometric strains and patterns

The dancers, female and male, moved with nice precision, speaking the contrasting ideas by the formation of assorted geometric strains and patterns. The emergence of Devi from fireplace, the swish move of the Ganga and the fierce encounter with Mahishasura had been visualised to the melodic musical rendition of ‘Aiyigiri nandini’ in raga Hamsadhwani.

Pallavi, an merchandise of pure dance that includes actions of lyrical grace and dance passages working parallely to music passages, is a crucial a part of the Odissi repertoire. The clear geometry of strains and the colourful sounds of the group’s footwork in Khamaj Pallavi, mixed with the feminine dancers recreating the friezes in temple sculptures highlighted the aesthetics of the Tribhanga type of Odissi.

‘I’m, due to this fact, you’re’, an existential monologue of a pratinayak the place the character shouldn’t be an anti-hero however a prototype of the nayaka, was explored by Aruna Mohanty in a riveting solo efficiency. Drawing on the narratives of Narasimha-Hiranyakashipu, Rama-Ravana and Krishna-Kamsa, Aruna drew parallels to the elements of the satan and divinity embodied in every one in all us by a considered use of delicate abhinaya, dance actions and theatrical gadgets.

The scene the place Lord Narasimha emerges from the pillar made a robust visible influence. (Lighting design: Ramesh Chandra Jena). Although each had been an embodiment of evil, the delicate variations within the characterisation of Ravana and Kamsa had been finely expressed by Aruna by her abhinaya. Alternating between the back and front of the palm whereas utilizing the pataka mudra to indicate good and evil was a formidable use of hasthas.

Battlefield scene

The thought of Arjuna looking for solutions from Krishna within the battlefield, the Vishwaroopa Darshan embodying the all-encompassing type of the supreme lord, different aspects and types of creation, philosophical concepts and summary ideas had been explored by dance, however the projection on the again display disturbed the move.

A musical ensemble consisting of simply three musicians supplied a wealthy aural deal with. Matruprasad Das’ bhava-soaked vocal rendition, together with Agni Mitra Behera’s unobtrusive, melodic taking part in on the violin and Bijay Kumar Barik’s mardala enhanced the dance sequences. The dancers modified their costume color scheme for every merchandise — the muted color palette and aesthetic drapes had been impactful.

The dancers within the crew had been Madhudhmita Naik, Shreepunya Mohanty, Ananya Parida, Sayani Chakraborty, Nalu Samal, Bijan Kumar Palai, Prathap Bariki, Chinmaya Behora and Subham Kumar Ojha. The musical compositions had been by Bijaya Kumar Jena and Ramhari Das. Rhythm composition was by Dhaneshwar Swain and Vijay Kumar Barik.

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