For centuries, Konark has enjoyed its place in the Sun. Life in this small, quiet town of Odisha begins with the surreal sight of the Sun’s first rays shining through the heavy mist hanging over River Chandrabhaga. The day draws to a close with the Sun vanishing behind the colossal stone edifice, washing the intricate and curvilinear sculptures on the walls and pillars of the Sun Temple in a bronze hue. But, there are days when the sounds of anklets and musical notes keep Konark awake till late in the night. To witness this awe-inspiring blend of history, heritage and art, thousands from across the globe converge here. So it was at the three-day 32nd Konark Music and Dance Festival, started by the late Gangadhar Pradhan.
An exponent of Odissi, he began this annual celebration of the performing arts at the open air Natya Mandap, a replica of the Sun Temple’s Natyashala. Nestled amidst casuarina and cashew trees on a sand dune, the Mandap, a three-tiered dome-shaped structure has beautifully crafted tall sculptures bordering the semi-circular stage. Tribal paintings in striking red and white combination with geometrical and nature-inspired patterns adorn every little space. It is a perfect setting to experience the essence of classical and folk arts.
A dedicated teacher, Gangadhar Pradhan set up a gurukul by the Natya Mandap to foster the cultural tradition of the state. Odissi, Chhau, Gotipua, mardal, tabla and vocal music are taught here. On the second day of the fest, children of the gurukul learning Gotipua, left the audience spellbound with their acrobatic stances, intense training and technique.
Grand spectacle
Each evening, the fest began with the blowing of conch by young boys marching from the Siva temple at the entrance to the stage. This was followed by Panchdeva Stuti, a grand spectacle, as students with glittering diyas in their hands danced on stage and along the pyramidal roof, with one of them standing at the circular summit.
This festival brings together classical dancers, musicians (instrumental and vocal) and folk artistes from across the country. The opening performance of the latest edition was by the students of the Bhubaneshwar-based Odissi guru Durga Charan Ranbir, who felt that in the interest of classical arts it was important to keep such festivals alive. “I know it is not easy to put together an event of such magnitude. It is to the credit of Guru Pradhan, who was not only an artiste, but a visionary. Realising that art cannot survive in isolated niches and should not be restricted to closed-door auditoriums, he set up this four-acre space. We need more of this kind for unfettered creativity,” he said.
Sulochana Pradhan, wife of the late guru, who joined the conversation, could not agree more. In fluent Odia, she explained the challenges of keeping the gurukul and festival going.
“Though the five-day utsav now spans three days, it has not lost its flavour and purpose, thanks to the committed disciples, artistes and admirers of my husband. Guruji’s efforts in making the arts accessible and inclusive have been rewarding,” she said.
It defines the rich culture of Odisha, along with many other festivals, especially the Konark Dance Festival held in the backdrop of the Sun Temple.
Many, like the London-based Marina Wright, are regular attendees. Marina’s artiste-friend from Kolkata, Papia Ghoshal, first took to her to Konark in 2005. “This is my fourth visit. I love the presentation, a fine mix of diverse genres. The relaxed ambience makes it ideal to enjoy and understand the intricacies of the art.”
With the constant demand for ‘something new’ from artistes, veteran Bharatanatyam and Mohiniyattom dancer Thankamani Kutty, pointed out how such platforms allow you to draw extensively from the classical repertoire. Along with husband and guru Govindan Kutty, Thankamani founded Kalamandalm Kolkata. Her brilliant line-up of students added sheen to her inventive choreography at their performance on the second day.
With the success of these festivals, more and more temples and monuments are turning into performance arena, taking art closer to people.
“They draw as many art aficionados as tourists keen to discover a place, some of whom often turn into art enthusiasts. It’s a fantastic way to widen the audience base. Such an ambience makes the task of reaching out exciting. Also, tehraav (measured), a characteristic feature of classical arts can be experienced better in a setting far from the urban frenzy,” says Brajeshwar Mukherjee, disciple of Pt. Ajoy Chakraborty, who won over the audience with his raga expositions and the bhajan ‘Baje re muraliya baje,’ a Pt. Bhimsen Joshi favourite.
In the stillness of the night, the fluid movements of Guru Lingaraj Swain’s Odissi group and rapid spins and vibrant footwork of Vaasuki Natyashala’s Kathak presentation appeared like waves rising and falling on the Chandrabhaga beach, leaving their imprint on the cultural sands of Konark.
A new direction
According to Gurupada Baliarsingh, programme manager, the event used to be held on a grander scale. After Guru Pradhan passed away, his son, Sibashis took over. A few years later, due to health issues, he found it difficult to give his best. Also, financial constraints forced the festival to be cut to three days. Under a new team now, led by president Swami Shankarananda Giri and secretary Sibashis, the festival is being conducted with a renewed vigour
Lifetime Honour
Veteran Bharatanatyam dancer and guru Yamini Krishnamurthy was bestowed with the Lifetime Achievement Award at the festival.