Dancers predominate in Konark Utsav 2024

Bhubaneswar: The power of art is limitless. Dance serves as a profound medium of devotion and expression, offering glimpses of the philosophy of Vasudhaiva Kutumbakam (the world as one family). Through art, the progress and stories of a developing India come alive. In the past century, Indian women have achieved remarkable milestones across land, water, and sky. Their contributions to classical dance are extraordinary. In the 20th century, the celebrated Bharatanatyam dancer Rukmini Devi Arundale opened professional opportunities for women in modern classical dance. This legacy was evident at the Konark Festival 2024, where female artists dominated, with dancers and their mentors delivering unforgettable performances.

On the fourth evening of the festival, Kuchipudi dancer Deepika Reddy and her disciples presented a captivating performance. The first piece by Deepanjali artists was Kuchipudi Vandana, an invocation dedicated to Lord Ganesha and Lord Shiva, the chief deity of the Kuchipudi village. The Ganesha Vandana, “Jai Ganapati Vande”, depicted Ganesha in forms such as Karunasagar, Jagatpita, and Siddhipradayak. Simultaneously, the divine forms of Goddess Tripurasundari, Mahalakshmi, Parameshwari, and Jagajjanani were beautifully portrayed.

The second performance, based on Vaggeyakara Bhakta Ramadasu’s composition “Thakkuvemi Manaku”, focused on Lord Vishnu in his Rama avatar. It culminated with a heart-touching depiction of the Ram Darbar, while the portrayal of the Dashavatara added depth to the performance. The next presentation, “Madhuram Madhuram Kasturi Tilakam”, highlighted Krishna’s playful tales. Themes like Putana’s slaying, Navneet Chora (the butter thief), Brahmand Darshan, Kaliya Mardana, and Krishna’s battles with various demons were vividly depicted.

The Tarangam segment showcased remarkable synchrony and balance in group footwork, enhanced by expressions (bhavas), gestures (angikas), and emotional subtleties (sanchari). The final piece, Nritya Niranjanam, set to Ragamala and Talamala, expressed divine devotion with exquisite grace. These performances were choreographed by Guru Deepika Reddy, with musical compositions by D.S.V. Sastry. The disciples, who have trained under Guru Reddy for years, reflected her dedication to preserving and passing on this art form to the next generation.

The evening concluded with a performance by artists from the Rudraksh Foundation, presenting the choreographies of Guru Bichitrananda Swain. The musical composition was by Gurus Ramahari Das and Srijan Chatterjee, with rhythm by Guru Dhaneswar Swain. Their first presentation, Hansakalyani Pallavi, was set in the Hansakalyani raga and Matta tal. The second performance, Sakya Muni Buddha, depicted the life of Gautam Buddha, covering his birth, Jataka tales, teachings of the Eightfold Path, and the Dharmachakra Pravartan.

While the presentation was commendable, there was noticeable scope for refinement and enhancement, which could have elevated the performance further. Overall, the fourth evening of the Konark Festival showcased the depth and beauty of Indian classical dance, leaving the audience captivated.