Graceful Expressions Create Memorable and Vibrant Images
By Vijay Palaparty
The four dancers posing in Dashavatar
With Srishti Dances of India’s, Lavanya: Graceful Expressions of the East, audiences witnessed an extraordinary collaboration. The production wove together two principal classical dance styles from the Eastern part of India — Odissi and Manipuri. The production, which has been touring the United States for the past two months, recently played at the Battery Dance Company in Manhattan and at the Ganesha Temple in Flushing.
Srishti Dances of India’s President and Artistic Director, Sreyashi Dey, a leading exponent of the Odissi dance style, conceived of the joint creative venture. Dey collaborated with Manoranjan Pradhan from the Orissa Dance Academy in Bhubaneswar, India (also a dancer in the Odissi style) and with Poushali Chatterjee, director of the Nandanik Manipuri Dance Academy based in Calcutta, India (a proponent of the Manipuri style) and Debajana Roy. The aim of their work was to showcase traditional pieces in each style but also to create new choreographies using elements from both styles.
As East Indian dance styles, Odissi and Manipuri share basic similarities in their technique, literary themes, religious and spiritual basis, and their grace and lyricism. However, the two styles are distinct enough that their contrasts also provide room for exploration. And this exploration was what created a stunning and expressive program of Indian dance and music.
The dancers seemed to be singing to each other while performing, moving about gracefully in an electrically energized space. All the dancers, and particularly Dey, Pradhan and Chatterjee, held powerful and graceful command of space.
Naba Durga, a piece in the Odissi style, was especially noteworthy. The emotions and gamut of moods emitted by Dey’s expressive face and Pradhan’s more forceful movements were effective in this invocation to Goddess Durga, an embodiment of female strength in Hindu mythology. The dancers invoked the Goddess Durga, the destroyer of Shumbha and Nishumbha, the complement of Kali, the killer of Raktabija, and one who is sakti, energy, mother, maya, illusion and peace. The dancers said through their dance, "I invoke you into my body" and brought this spiritual experience before the audience. Both Dey and Pradhan masterfully communicated the climactic piece and its intentional denouement.
In Tanum — Pallavi, rhythm was the focus in which pure dance elements were drawn from Odissi and Manipuri styles. The dance patterns and movements were stylized and decorative in character, and the entire choreography was woven with a series of lyrical rhythmic movements that represent the elaborate grace and charm of Odissi. The technique blossomed in the dancers as they showcased the mastery and artistry of their technique, rendering the piece as delicate poetry. In Tanum – Pallavi, music from both traditions were heard in alternating passages while the choreography reflected the changing patterns in the music. The tempo of the piece and the lilting crescendos were interesting because the space surrounding each dancer had been commanded in very interesting ways. I think of choreography as something that is portrayed through the body, but it was an amazing visual picture to watch the space around the dancers morph and change with each movement — as a collective; they energized the whole atmosphere.
Dashavatar was based on Jayadevas’s 12th century classic–the Gita Govindam chronicled the ten avatars, or forms, of Vishnu, one of the Gods of the Hindu trinity. Jayadeva’s Dashavatar composition is traditional to both Orissa and Manipur, sung in a distinct musical style in each region. In this piece, the authentic style of singing of the Dashavatar had been preserved and was combined in alternating verses. The performers’ discipline provided a fine balance of the dance styles.
The blend of two distinct styles of music as well as dance reflected the unity of Indian classical dances in their underlying themes, literature and spirituality. While the dance techniques differ regionally, harmony was achieved through the common elements, while continuing to highlight the contrasts.
The image left in the audience’s mind was perhaps something like that of a tableau painting in which each person moves about giving beauty at each moment. The pouring of emotion, and the captivating music of each piece, especially those that combined elements from the high-pitched Manipuri music, and also the more rounded Odissi music, is quite memorable. The command and creative nature of the dancers is outstanding. The evening was an indulgence of both visual and aural brilliance.
About the Dance Styles
Odissi
Odissi is one of the principal classical dance styles of India, from the eastern state of Orissa. The earliest mention of this style can be traced to 2,000 years ago, when it was mentioned in the oldest and the most authoritative texts on Indian dance, the Natya Shastra as the Odra-Magadhi style.
This style is marked by elaborate grace and lyricism. In terms of technique, it is characterized by strong feet and leg movements that are rooted to the earth combined with the graceful and flowing movement of the torso. This isolation of the torso and the lower half of the body is the hallmark of Odissi. The other characteristic is the bending of the body into three sections, or the tribhangi. The head and neck form one section, the torso the second and the lower part of the body, waist down forms the third. Like other Indian classical dances, Odissi is essentially the use of movement to link series of still poses reminiscent of temple sculptures.
Historically, the Odissi style is thematically influenced by the literature of the Vaishnava (worshippers of Lord Vishnu) sects, although influences of Shaivaite (worshippers of Lord Shiva) texts are also prevalent. The dance is completely spiritual in its content, even though there are pieces that are virtuosic and rhythm-based.
There were two main traditions that preserved the style through the centuries. The dance style was a means of worship of Lord Jagannath in Orissa and there were women dedicated to dance and sing for the Gods. They were called Maharis and they had a distinctive style of dance that is very spiritual. The other style was the Gotipua style, which was performed by young boys and is more athletic. After suffering neglect and decay during the colonial times, Odissi was revived and revitalized in the postcolonial period in India, after 1947. The style that exists today has influences of both the Mahari and Gotipua styles and continues to thrive on the creative genius of Gurus, scholars and dancers.
Manipuri
Manipuri has two distinct styles, Tandava, or masculine which is forceful and vigorous and Lasya or feminine, which is graceful and lyrical. The difference between the two is more pronounced than in other dance styles – so much so that dancers have to wear different costumes to perform them. All movements in Manipuri Dance are like the waves of the sea, one merging into the other, without any sharp breaks. The hand movements are rounded, maintaining a 45-degree angle.
Originating in a small hilly state in North Eastern India, Manipuri Dance draws inspiration from Vaishnavism, the devotional cult of Hinduism. It is most famous for its divine Rasleelas — dance dramas depicting the cosmic union of Lord Krishna and Radha. It also has a rich repertoire in Sankirtan or Natpala, which includes singing, Pung Cholom or drum dances and Kartal Cholom — dance with big cymbals.
Bhakti or devotion is the essence of this dance style – Manipuri Dance is one of the few dance styles of India still performed in the temple. In fact, it is still essentially a way of worshipping god rather than an art form on its own. That may explain why the rich heritage of this dance style, which existed from the primeval age but flowered into a classical style recently, is not widely known. It is at once the oldest and youngest of classical Indian dances, and combines total self-dedication with technical skills in its unique form.
