Japanese Odissi exponent Yukie Sato, accompanied by her students Yukako Mase and Fuyumi Narita, offered a captivating recital marked by classical elegance and artistic depth. Trained under renowned gurus Ratikant and Sujata Mohapatra in Odisha, the artistes demonstrated remarkable cultural sensitivity and technical finesse. The performance unfolded as a seamless blend of devotion, visual splendour, and refined Odissi artistry.

Deeply drawn to the beauty and classical grace of Odissi, Yukie has pursued the form with diligence and devotion, training for many years at “SRJN” in Odisha under Gurus Ratikant and Sujata Mohapatra. Her ability to understand and assimilate a dance tradition rooted in a different cultural milieu deserves special appreciation. She has founded the Yukie Indian Dance Company “Sampatti” in Japan, through which she continues to share the grace of Indian classical arts abroad. A national-level rhythmic gymnast, Yukie has also been conferred an honorary doctorate in Fine Arts.

An elegant backdrop of Ikebana flower arrangements lent distinction to the evening. A brief welcoming pure dance item by Kuchipudi students of Amy Kumar, presented in soft pastel hues, added lustre to the programme. The Odissi dancers stood out in striking red, black, and gold costumes, which gleamed radiantly under the stage lights, creating a strong visual impact.

Yukie, Yukako, and Fuyumi commenced with the ritual Mangalacharan, “Shantakaram”, offering gratitude to the Deity, the gurus, and the audience. The piece portrayed Vishnu, the Preserver, resting on the serpent Ananta, symbolising that the world itself is a dream until he awakens. From his navel blooms the lotus bearing Brahma, the Creator, while Shiva, the Destroyer, emerges from Brahma’s brow—forming the Divine Trinity. Lakshmi, the Goddess of wealth, is Vishnu’s consort.

Yukie gently depicted Vishnu in tranquil repose as the lotus seat of the Creator blossomed. Yukako portrayed the benevolent Lakshmi, embodying auspiciousness, while Fuyumi represented the many-hooded serpent, together forming a visually evocative tableau. Thus, the Supreme Lord—lotus-eyed and absorbed in meditation—bestows liberation upon sages.

Yukako then shone in Batu Nritya, a pure dance item devoid of singing or recitation, dedicated to Batuka Bhairava, a manifestation of Shiva. This work is believed to reflect a vision experienced by the legendary Guru Kelucharan Mohapatra in the dance hall of the Sun Temple at Konark. Yukako created a serene, swaying mood through intricately structured rhythmic patterns, evoking the playing of classical instruments. Through refined angika abhinaya, the Mardala, Veena, Bansuri, and Manjira were vividly brought to life. The movements were austere yet precise, reminiscent of a temple sculpture animated into motion, revealing a mystical and majestic Odissi landscape.

Megh Pallavi, performed by Yukako and Fuyumi, showcased their technical command. The choreography evolved from a gentle, measured tempo to an increasingly vibrant pace, akin to entwining vines growing in complexity and grace. The fluid and intricate melodic structure aptly evoked a season comparable to Japan’s early summer monsoon, a quality that aligns with the pallavi’s frequent inclusion in dance-theatre works such as the Gita Govinda.

Yukie then delivered a poignant interpretation of Jayadeva’s sixth Ashtapadi, “Sakhi He Kesi Madana Mudaram.” Here, Radha appears as a virahotkanthita nayika, anguished by the absence of her beloved. Confiding in her sakhi, she admits that despite Krishna’s dalliance with other women, she remains spellbound by his irresistible charm. She implores her friend to find Krishna and bring him to her without delay.

In her yearning, Radha recalls the bliss of her first union with Krishna through evocative imagery. Absorbed in his smiles as cuckoos coo softly, she closes her lotus-like eyes and relives the joy. Her gem-studded anklets chime as she reclines on a bed of tender leaves in his embrace. Unable to summon anger for his delay, her longing only deepens. Yukie excelled in this tender, abhinaya-driven presentation.

The evening concluded with Mokshya, performed by all the dancers, expressing the soul’s aspiration for moksha—liberation and union with the Divine. In Hindu philosophy, moksha signifies release from material bondage and the awakening of higher spiritual consciousness. The dancer transcends ordinary awareness, rising into ecstasy and bliss. Set to a brisk tempo, the finale was accompanied by a universal prayer in praise of Mother Goddess Devi and Lord Shiva, deities of creation and dissolution.

Dr. Thaisa Martins of Brazil—visiting dancer, archaeologist, and researcher—graced the occasion as Chief Guest.