Bhubaneswar: As I arrived at Utkal Rangamanch on the premises of GKCM Odissi Research Centre here on December 19 evening to witness the first edition of Bijayaamrita Mahotsav, organised by Jagaddhatri Kala Niketan, I had little expectations or knowledge as what the evening had in store for me.
What awaited me, however, was an experience both aesthetically pleasing and artistically rewarding.
A tastefully designed entrance gate was there to welcome guests and audiences. While the entire area was bathed in colourful lights, there were standees on both sides of the pathway from the gate to the auditorium informing about the performers of the evening. Inside, a beautifully crafted floral rangoli greeted visitors, adding a touch of traditional charm.
The hosts welcomed me with unamusing hospitality which warmed the cockles of my heart. Braving the winter chill and undeterred by the fifth and final T20 match between India and South Africa, a sizeable art lovers were there inside the auditorium. I soon found my seat among them.
Moments later, the stage got lit up, emcee of the evening, Ananya Mishra, took center stage. She introduced the host institution, Jagaddhatri Kala Niketan, as the brain child of young and accomplished Odissi dancer Barsha Priyadarshani Sarangi, a disciple of Guru Rashmi Ranjan Barik.
Barsha’s journey in Odissi began at the tender age of eight under the watchfully guidance of Guru Mamata Ojha. Two years later, her dream took its first concrete shape when she performed in a group Odissi dance recital at Baliyatra Utsav in Cuttack. At just 16, she marked a major milestone with her solo debut at the GKCM International Odissi Dance Festival in Bhubaneswar in 2021, an experience that proved to be a turning point in her artistic journey.
Currently refining her skills under Guru Rashmi Ranjan Barik, Barsha has performed at several prestigious festivals as a soloist, in duet and group presentations, earnings several awards and accolades along the way. Refusing to rest on her laurels, Barsha has transformed her passion into purpose. In 2024, she established her own dance institution ‘Jagadhatri Kala Niketan’ in Cuttack.
One year later, she held her institution’s first festival Bijayaamrita Mahotsav, a testimony to her determination and dedication towards her chosen art form.
The festival was graced by dignitaries like CSNA awardee Guru Dhaneswar Swain, CSNA awardee Odissi dance guru Niranjan Rout, former director of Doordarshan, Bhubaneswar and eminent Odissi dancer Dipti Mishra and social activist Nishikanta Mishra who inaugurated the festival by lighting the auspicious lamp. In their addresses, the guests heaped praise on Barsha’s dedication and wished her institution’s continued success.
They all agreed that the way minute details were taken care of, the festival didn’t seem to be its first edition.
A gifted artiste endowed with radiant stage presence coupled with beauty and gracefulness, Barsha opened the evening with an evocative salutation to Lord Jagannath, seeking divine blessings.
She followed this with an abhinaya ‘Mohana Murati Chhai Lo’, choreographed by Guru Bichitrananda Swain and music composed by Guru Smt Sangita Gosain. Blessed with a chiseled torso and eloquent and expressive eyes, Barsha succeeded in bringing out many moods of Krishna delicately.
Her portrayal of two nayikas, enchanted by seeing the beauty of Krishna was truly a case of ‘seeing is believing’. Her performance was marked by clarity of movements and great command over her movements, reflecting the maturity beyond her age and hinting at a promising future in the Odissi firmament.
The thunderous applause she received spoke volumes, but perhaps the most gratifying endorsement was the rapt attention of eminent danseuses such as Sujata Mohapatra, Dr. Dipti Routray, and Guru Bichitrananda Swain. suggesting she is sure to reach great heights in her chosen field of dance-Odissi.
I eagerly look forward to her future solo recitals.
The next performer, Preetisha Mohapatra, commenced her recital with Vishnu Vandana ‘Shantakaram Bhujagashayanam’, choreographed by Guru Ratikant Mohapatra with music composed by Dr Bijay Kumar Jena. Here, the svelte dancer delivered an impressive and poised performance.
She followed it up with a Pallavi based on raga Shudha Dhaivat Bibhas and Tala Aaditala, again choreographed by Guru Ratikant Mohapatra with music composed by Pradip Kumar Das. With her quicksilver movements and sculpturesque poses, she left the audience captivated.
The evening then unfolded into a captivating duet, ‘Dasa Mahavidya’ by Sanjana Gouda & Dipti Champati, artistes of Nupur Dance Academy. Choreographed by Guru Niranjan Rout, music composed by K Ramarao Patra and rhythm by Guru Dhaneswar Swain, the item was a treat for both trained and untrained eyes.
The art lovers were further enthralled by another mesmerising duet by Rakesh Das and Akanksha Routray of Dr Dipti Routray’s Biswanath Sangeetalaya, Cuttack. They presented an abhinaya ‘Srimati Sripati Vrindavane Keli Rachile’, depicting Krishna’s irresistible charm and the intimate, playful moments shared with Radha. While the item was choreographed by Padmasree Guru Durga Charan Ranbir and direction by Guru Smt Dipti Routray, its music and rhythm were composed by Guru Sumanta Mohanty and Guru Dhaneswar Swain respectively. Rakesh and Akanksha did justice to the choreography, to some extent.
The festival culminated on a powerful note with a group Odissi dance recital by the artistes of Guru Bichitrananda Swain’s Rudrakshya Foundation. The dancers- Roji Swain, Debasmita Muduli, Aeioush Gunaprava, Avipsa Biswal, Sudeepa Rout, Krittika Panda and Satasha Samanweeta Pradhan-presented ‘Mahakali Stutee’, based on raga Mohana and Bhairabi and Tala Ekatali. Choreographed by Guru Bichitrananda Swain, music by Guru Binod Bihari Panda and rhythm by Guru Bijay Kumar Barik, the piece explored the truth of life through the worship of Devi Mahakali. Their impeccable synchronization and dynamic formations instantly ignited a spark among the audience.
Ananya Mishra’s flawless anchoring coupled with insightful introductions before each performance added vibrancy and coherence to the evening.
As I left the venue, I felt deeply satisfied by the thoughtful curation and seamless organization of the festival by Barsha and her guru Rashmi Ranjan Barik.
I wholeheartedly blessed her institution and the festival with a long, successful and artistically fulfilling journey.
While the Department of Odia Language, Literature and Culture, Odisha Government and TEAM supported the festival, Kalasanskruti, an art and culture-based web portal, served as its media partner.
