Calcutta is expected to witness a steady stream of tributes to the Odissi legend, Kelucharan Mohapatra, in the centennial year of his birth. At the annual programme of the Kolkata Mayur Lalit Dance Academy held at Jai Hind Auditorium recently, the director of the academy and Mohapatra’s disciple, Debamitra Sengupta, chose to make homage to Mohapatra the evening’s thematic core. Anuchintanam combined faithful renditions of Mohapatra’s choreography with an attempt by the younger generation to engage with contemporary concerns.
Priye Charushiley — it describes a chagrined Radha being implored by Krishna to forgive him for his dalliances with gopis — Sengupta’s solo interpretation of a verse from Gita Govinda was perhaps the best presentation of the evening. The performance’s demands of the balance of lyrical grace and emotional subtlety were met. Technical feats gave way to emotional depth through nuanced abhinaya as Sengupta captured the shifting currents of longing, reconciliation and devotion that animate the text. Priye Charushiley (picture) demonstrated why expressive storytelling remains central to Odissi’s appeal.
The students took centre stage in the mounting of Sadripu — The Dance of the Desires. Conceptualised by Deb Ghosh and envisioned and narrated by Sheersha Banerjee and Surajit Banerjee, it examined the six human vices — desire, greed, attachment, pride and envy. The strength of the dance drama, fronted by Sheersha, lay in its ambition. Its strongest moments came when movement, music and narration converged to create dramatic images.
Anuchintanam’s other attractions featured choreographies by Sengupta, such as Guru Brahma and Mo Jaga Kalia, which were performed by the tiny tots while the seniors performed to Mohapatra’s famous choreography pieces, such as Dasavatar and Sakhi He. Equally engaging were Sengupta’s reflections on her years of training. Her anecdotes about the guru’s exacting standards, repetitive drills, and relentless pursuit of perfection offered insights into a tradition that is as demanding as it is transformative.