In a remarkable blend of traditional Indian dance art forms, acclaimed Odissi dancer Madhulita Mohapatra has joined hands with K. Krishnamurthy Tunga, the esteemed founder of the Yakshakala Academy, to captivate audiences with a new choreographic piece titled “An Enchanting Encounter- Odissi meets Yakshagana.” This innovative dance presentation is a highlight of the seven-day Fusion Music and Dance festival, hosted by the Bharatiya Vidya Bhavan, signaling a union of two powerful performance styles.
Madhulita, the dynamic founder of Nrityantar, a noted Odissi dance school located in Bengaluru, has not only brought the delicate form of Odissi to the fore but has also embraced the vibrant spirit of Yakshagana through her latest collaboration. The dance narrates the story of Savitri and Satyavan, derived from the Vana Parva (the Book of the Forest) in the great Indian epic, Mahabharata, with Savigiri’s tale serving as a testament to the strength of a woman’s unconditional love, purity, and dedication to her spouse.
“The fusion of Odissi and Yakshagana not only exhibits the versatility and rich tapestry of Indian classical dance but also bolsters the narrative, offering a blend of diverse dance vocabularies,” Explains Madhulita Mohapatra, who has envisioned and choreographed the performance. With a prestigious Ustad Bismillah Khan Yuva Puraskar from the Central Sangeet Natak Akademi to her credit, Madhulita is an esteemed figure in the realm of Indian classical dance.
The musical landscape of the choreography is crafted by Bijaya Kumar Jena, complemented by a script inked by the Odia poet, Kedar Mishra. Together they have created an auditory setting that interweaves traditional Yakshagana music with the melodies and rhythms synonymous with Odissi, imbuing the performance with a unique soundscape.
K. Krishnamurthy Tunga, donning the formidable role of Yama, the god of death, reveals that Madhulita’s vision sought Yakshagana’s vibrancy to characterize the might and intensity of Yama. “His name alone evokes fear. It is necessary for such a powerful entity to be depicted with equal vigor, hence the use of Yakshagana’s energetic movements,” Tunga describes. He emphasizes that while innovation is at play, the integrity of both forms remains intact, with each style contributing to Yama’s portrayal through specific musical and choreographic elements.
Tunga, a veteran artist of the Yakshagana genre, recounts his journey from a young student learning in the traditional gurukula system at the Shivaram Karanth Yakshagana Kendra to founding his own dance academy in Nagarbhavi. His lifelong commitment to this art form is a tribute to the influence of his birthplace, Udupi, and his school headmaster, MN Madhyastha, who fueled his passion for the dance. Even while working full-time for the Women and Child Welfare Department in Bengaluru, Tunga relentlessly pursued his love for Yakshagana.
The confluence of music, costume, and movement distinct to each style will be on full display as Mohapatra and Tunga grace the stage on January 20th at 7 p.m. in the Khincha Auditorium of Bharatiya Vidya Bhavan. The organizers of the Fusion Music and Dance festival anticipate a performance that promises to be a transformative experience for the audience, with the event open to all who wish to immerse themselves in this cultural celebration.
This cross-pollination of Odissi’s lyrical nuances with Yakshagana’s dynamic theatricality is set to create ripples in the landscape of Indian classical dance, symbolizing the ongoing evolution and boundless potential of these ancient art forms as they engage in a captivating dance dialogue on the modern stage.
