in Odissi dance
April 11, 2009
An illustrious disciple of Guru Kelucharan Mahapatra, her mastery in Odissi apart from her competence in Chhau was brought forth in a brilliant performance exploring every aspect of the dance form. Beginning with the traditional "Devagurusabha Pranata," a triple salutation in Anjali gesture, over the head to God, in front of the face to Guru and in front of the chest to the public, she moved on to Pallavi in raga Bajrakanti based on Ektali set to music by Rakhal Das Mohanty. Her clean cut nritta in which she gradually built up the lyrical imagery of raga, tala and swara proved that her execution is not a vehicle or display of technical skill for skillís own sake but a natural manifestation. Crisp movements and sharp motifs made the presentation delightful.
A heart warming
and intensely human tale was gripped in 'Sharanam,' an abhinaya number
based on the story of three women of different faith. Ileana's embryonic
dance and facial expressions revealed her distinctive talent for abhinaya
to portray the fate of Mary Magdalene, who was pelted by stones and took
refuge with Jesus, a tortured Amrapali to be salvaged by Buddha and Pingala,
who realised the futility of waiting for her client and surrendered to
Lord Krishna (mokhshaya sadhanam). A special mention of the numbers
"Praharo maraya maraya daraya gataya" (Mary Magdalene) and "Hemanta bichari
biraag bhav" (Pingala) is important. Without special aptitude such a portrayal
cannot be executed.
by Ghanashyam Panda, Mardala by Buddhanath Swain and violin by Suramani
Ramesh Dass added to the success of the enjoyable performance.