The month of March started on a creative note as Odissi exponent Sharmila Biswas (disciple of Guru Kelucharan Mohapatra), her senior disciples and students from Odissi Vision and Movement Centre, successfully executed a three-day dance festival — Storytellers at Gyan Manch on Pretoria Street, which concluded with a choreography workshop titled ‘Intimate Act of Choreography’ (held at their institute in Lake Gardens). Day One featured Pagdandi, which refers to the winding footway from the base of the hills, was all about the journey of self-discovery divided into five dances titled Padmapuran-Mahalakshmi, Kundalika, Srishtitatva, Divine Puppeteer and Ananda Moksha. Manodarpan on Day Two explored the three elements of Natya — Angik, Vachik and Aharya — from the ancient text, Natyashastra. Snapshots...
A t2 chat with Sharmila Biswas How did you conceptualise the pieces and put them together as Storytellers?
There are two stories in Storytellers, one selected for each evening. Pagdandi is the Odissi repertoire revisited. Manodarpan is a production based on bhava rasa theories from Natyashastra. Both the productions address traditions through different lights, but ultimately talk about the journey of a dance practitioner — the changes she makes, the joys of new discoveries and at the end, she reaches the top, sits and looks down and reflects on the path. Similarly, we end Storytellers with a workshop, where we sit, think, and analyse choreography.
What’s on your mind when you’re choreographing? How many months did you devote to compose the pieces for Storytellers?
I always try to understand if my work and choreography is communicating. Each of the pieces have been growing inside me for years, say for about three to 10 years.
Were your audience receptive to the show? What kind of feedback did you get?
In Pagdandi what was most appreciated was the fact that the entire show stood firmly on good dancing and choreography, and not on fancy props and other frills. Manodarpan was an eye opener for a lot of people because the simple and effecting way of communicating complex emotions was written in our traditional texts.
What measures can artistes take to make dance a more serious topic and wholesomely develop it as a professional career option?
The myriad expressions of Sharmila Biswas executed with finesse while performing the Divine Puppeteer (a depiction of the supreme lord as the puppeteer) on Day One
Students of dance who want to take up dance as a profession need to first invest time, energy and dedication for training. That is lacking in most. After that, as professionals they have to plan presentations which deserve payments. They need to mould their life according to the needs of dance. Career is the top priority for all students, except students of dance. This has to change. They should also be planning a dual career option to support them in their struggling days.
What kind of feedback did you see at the workshop?
I could break a misconception! That choreography isn’t the work of an indulgent mind or the minds of some special people. There is a specific process to follow. The participants discovered the methods and ways to proceed for the first time.
Do you believe the artistes have fully been able to come out of the detrimental effects and impact of the pandemic?
All artistes were not effected adverslely. Many found this gap as an opportunity to learn new skills, and try out new ways to earn money. They have come out stronger. Those who sat waiting for things to happen suffered. Some vanished altogether.
How did choreographing help you during that time?
I mostly studied subjects for which I never had time before. Manodarpan and Pagdandi are products of my research during the pandemic.
