Artist residencies are distinctive spaces for cultural exchange, learning, and reflection. One such residency, hosted recently by the ministry of culture in collaboration with the Kolkata Centre for Creativity, witnessed the rare coming together of two stalwarts of Odissi — Aruna Mohanty and Sharmila Biswas. The outcome was Rasabiva, which featured performances by troupes of the Orissa Dance Academy and Odissi Vision and Movement Centre. This reviewer attended the opening day of the festival and was treated to recitals that combined deep engagement with the classical form with a profound sense of self-discovery.
The evening began with Katha-Mardalara, choreographed by Mohanty, tracing the journey of the mardala — from its ritualistic role in the temple to its evolution as an aesthetic instrument on stage. Integral to Odissi, the mardala’s resonant beats create intricate rhythmic patterns that were brought alive by four male soloists whose vigorous footwork and dynamic upper-body movements held the audience in thrall. Next came Pingala, based on Subodh Ghosh’s anthology, Bharat Premkatha, the most captivating performance of the evening. It narrates the tragic yearning of the courtesan, Pingala, for King Atirath. Madhusmita Mohanty (picture) essayed both roles, her abhinaya shifting seamlessly from tender love to painful longing and then indignant betrayal, as Atirath, untouched by her desire, coldly spurned her. Aruna Mohanty’s choreography balanced classical virtuosity with expressive depth, giving the audience a glimpse of Pingala’s turbulent inner world. Mohanty’s narration, mostly in English, enriched the performance though the climax — delivered in Odia — may have felt somewhat obscure to non-Odia speakers.
Biswas’s Shrishti Tatva, an interpretation of Jayadeva’s Dashavatar Strotra, followed with a vibrant reimagining of the creation story. The OVM dancers’ agility and physicality animated the avatars in strikingly unconventional forms, their movements breaking away from rigid structures while retaining spiritual resonance. The concluding performance, Dhani-Pratidhwani, was a joyous celebration of divine rhythm — instinctive, unbound by choreographic rules, and pulsating with spontaneity.