Divine message of positive action
Orissa Dance Academy, Bhubaneswar, presented the Odissi ballet “Gita Mahatmyam” at Ravindra Bharathi, supported by the Ministry of Culture, Govt of India.Conceptualised and choreographed by Padma Shri Dr. Aruna Mohanty, it was the second part of “Rasabhiva,” blending the historical with the eternal.The performance beautifully interpreted the Bhagavad Gita’s timeless teachings through exquisite dance, music, and visual storytelling
Orissa Dance Academy, Bhubaneswar, supported by the Ministry of Culture, Government of India, presented an Odissi ballet recently at Ravindra Bharathi titled “Gita Mahatmyam.” It was the second part of “Rasabhiva” — bringing together the historical and the eternal.
Conceptualised and choreographed by Padma Shri Dr. Aruna Mohanty, who herself trained under the Doyen Gangadhar Pradhan and has an immense repertoire of over 100 productions spanning subjects from Pre-Vedic to Modern times, the ballet was aided by co-choreographers Anitha Guha and Janardhan Raj Urs. The script was by Kedar Mishra with input from Nityananda Mishra.
The lyrical music of Ramhari Das was rich in tone and greatly appreciated. Lighting by Ramesh Chandra Jena added a dazzling aura. The sky-blue images on the screen, along with flame-like visuals, created a surreal atmosphere whenever required. The guidance of Swami Dayanand Saraswati and the help of Kalavardhini, a think tank, brought the ideation to life.
Aruna Mohanty exhibited supreme creative genius in embedding other episodes within the central framework of the Bhagavad Gita without losing internal cohesion, as the ideas flowed seamlessly and naturally. More than a score of drilled young artistes, including male dancers, gave flawless demonstrations of their skills and their Guru’s ability to hone them to perfection.
The key tenets of the sacred text were marvelously elucidated, showcasing their relevance to modern life. A young dancer brought the image of Lord Jagannath on a cushion to seek his blessings. As Lord Krishna addresses Arjuna on the battlefield, he seeks to revitalise Arjuna from the despondent mood that had suddenly seized him at the onset of war, upon seeing his kinsmen and respected elders arrayed against him. Arjuna’s gestures of weariness and utter despair were superbly portrayed by Chinmay. Himanshu, as Krishna, radiated confidence on the field of Kurukshetra, serene in his ability to control the flow of events.
“The Body is only a Vessel, and the immortal Atma leaves it behind after its role is over.”Ki Nadare in Khamas was a centuries-old village song in Oriya, elucidating in rustic movements the Maha Rasleela, where Radha and the gopikas, mesmerised by Krishna’s enchanting flute, have an individual Krishna as a partner, dancing with each of them. This lyrical, picturesquely colorfulnritta-based interlude explained vital lessons of life, depicting how the mortal frame passes through birth, youth, old age, and death, while the Soul remains eternal. All these conditions were aptly displayed through suitably creative abhinaya.
“KarmaneVadhika Raste MaphaleshuKadachana” — as the screen was lit up with a picture evoking Pietermaritsburg in South Africa, the life ideal of Mahatma Gandhi as a karma yogi was highlighted, showing the discovery of Satyagraha that came from his inner voice after intense study and translation of the Gita. The Charkha, symbolising Khadi, was demonstrated through a masterpiece of choreography, with the dancers depicting it spinning in its frame. The Dandi March was shown with dancers holding long silver-toned sticks, performing elaborate evolutions, pivots, and rotations.
The sublime Dashavataras represented the philosophy of “Yada Yada Hi DharmasyaGlanirbhavati Bharat.” As selected verses from the Gita Govindam were recited, the artistes created a wonder of gymnastically inspired poses to depict the Fish, Boar, Lion, and other incarnations of Lord Vishnu. These were mind-boggling in their contours and fluidity, as quicksilver poses coalesced into sculptural tableaux. The Narasimha Avatar was particularly superb, with Diti Ranjan ascending a throne formed by dancers’ bodies, flipping Hiranyakasipu in the air, disemboweling him, and throwing the corpse onto the floor — a moment of realism that sent a shudder of wonder rippling through the audience.
As Arjuna experiences the Vishwaroopa Darshan, he realises that the entire cosmos resides within the Lord. He is but an excuse, which he had not known due to his ignorant identification with his body. The entire enemy warrior horde perishes like moths in a flame, devoured by the relentless form of the Lord as Kaala or Time. Some dancers formed a circle by linking arms, while others rushed through them in an imaginative rendering. Aruna’s intent was to explain that the battle ofKurukshetra is not merely a literal physical battle but represents the battles within each one of us. We are Arjuna, with the same questions and dilemmas. With enlightenment, we must shed delusions and bravely fight on the field of life with its many challenges.
As the ballet reached its conclusion, a serenely calm and graceful mood was achieved, with all dancers forming a group swaying to mellifluous music, portraying Krishna with the gopikas in stylised, harmonious movements. This served as a light, pleasing finale after the complex philosophical themes were entrancingly exposited to applause and appreciation. Throughout, the elegantly chiselled torsos of the dancers shone in the intricate tribhanga poses characteristic of Odissi; ornate angikabhinaya and expressive abhinaya melded together, creating an immersively wholesome experience.