In a unique confluence of classical dance forms that has captivated audiences, Odissi maestro Madhulita Mohapatra has joined forces with K. Krishnamurthy Tunga, the esteemed founder of Yakshakala Academy, to bring forth a spellbinding choreography titled “An Enchanting Encounter- Odissi meets Yakshagana.” Set against the backdrop of a seven-day Fusion Music and Dance festival organized by Bharatiya Vidya Bhavan, this performance is more than just a convergence of dance styles; it is a celebration of mythological storytelling and Indian cultural heritage.
Madhulita, the visionary founder of Nrityantar—Bengaluru’s prestigious Odissi dance school—shares that the collaboration is an exploration of both Odissi dance and Yakshagana. The sensory spectacle depicts the tale of Savitri and Satyavan, drawn from the majestic canvas of the Mahabharata’s Vana Parva or the Book of the Forest. The dance narrative breathes life into the poignant story, highlighting the virtues of a woman’s undying love, her unwavering chastity, and the spiritual devotion she holds for her husband.
Masterfully conceptualized and choreographed by Madhulita, the performance is brought to sonic life by the compositions of Bijaya Kumar Jena and grounded in literary depth by the script authored by prominent Odia poet Kedar Mishra. With the ancient art form of Odissi meeting the theatrical dynamism of Yakshagana, the fusion not only showcases the versatility inherent to Indian classical dance but also amplifies the storytelling aspects with varied dance vocabularies. Madhulita, honored with the prestigious Ustad Bismillah Khan Yuva Puraskar by the Central Sangeet Natak Akademi, elaborates on the artistic endeavor during her presentation in Odisha.
K. Krishnamurthy Tunga, adeptly steering the Yakshagana elements, explains that the integration of his form is specifically channeled to depict the formidable character of Yama, the god of death. Renowned for his vigor and might, Yama’s embodiment through the vigorous movements of Yakshagana lends intensity and gravitas to the performance. Tunga assures that while the classical boundaries are respected, the choreography innovatively infuses chande and Yakshagana music to represent Yama, creating a stark contrast to the serene melodies accompaniment of Odissi and the reverberating rhythms of the pakhawaj.
The seasoned Tunga, who began imbibing the art of Yakshagana as a child within the sacred precincts of the Shivaram Karanth Yakshagana Kendra’s gurukula system, attributes his passion for the art form not just to his upbringing in Udupi, but also to the inspirational guidance of his school headmaster, MN Madhyastha, a fervent patron of Yakshagana. Now 54 and a former employee of the Women and Child Welfare Department in Bengaluru, Tunga balances his passion for performing arts with public service and will grace the stage donning the persona of Lord Yama in the choreography.
The distinction between the two styles becomes vividly apparent through their unique musical cadences, their distinctive costuming, and their expressive movement vocabularies. Tunga offers insights from his dance school in Nagarbhavi, where the deep intertwining of tradition and education in Yakshagana germinated from a very young age.
The eagerly anticipated performance is scheduled for January 20th at 7 p.m. at Khincha Auditorium, within the Bharatiya Vidya Bhavan premises. The event demonstrates a living tapestry of Indian culture and is open to all—inviting audiences to immerse in the splendor of two of India’s greatest classical dance forms converging on a single stage.
