Devi Prasad Misra trained under the remarkably creative Joyadev , Srjan’s longtime lighting designer. I loved the image of two dancers each facing each other from down-right and up-left diagonals with another two dancers in the centre. ORC had facilities and staff to support creative new work, research and teaching.workshop@gmail.The ecstatic rolling of the boatman in front of Ram was a powerful expression of Bhakti when done by Kelubabu in full light; here the same feeling was communicated effectively by careful minimal lighting framing several dancers rolling. When four dancers created the identical Devi, there was no sense of the old fashioned “group solo” of yesteryear’s group ensemble; instead, the quickly changing groupings melted from image to image.Srjan celebrated the 91st birth anniversary and of Guru Kelucharan Mohapatra with a two-day festival in Delhi and, as ICCR director Amarendra Khatua said at the inauguration, “the journey of Odissi to a global platform.
This is a challenging wholesale truck side marker lights balance and takes commitment and skill. Similarly, an individual solo dancer needs a consistent and dedicated set of musicians for years to have the freedom to improvise and develop new ideas in movement and textual interpretation in front of the audience. At the time, Kelubabu was in his late 60’s, happily and securely based at the Odissi Reseach Centre (ORC) created in Bhubaneswar by one of his pre-eminent disciples, bureaucrat KumKum Mohanty. The opening of the Antardrishti festival was appropriately a re-choreography for the company of Kelubabu’s Ardhanarishwar, originally made for Sanjukta Panigraphi and indelibly etched in memory for those who saw it across India and the globe. There are excellent dance gurus whose students are well honed to dance as part of a group but cannot hold the stage alone.Dancers sitting in a circle on the floor with their feet splayed out were a gorgeous image in partnership with the top and angled blue lightning, it would not have worked in full light and would not have been there without full confidence in the light as equal to space and rhythm in the choreography.
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