“I didn’t select to bop; dance selected me,” says internationally acclaimed Malaysian dancer Datuk Ramli Ibrahim, echoing American trendy dancer-choreographer Martha Graham. It stays one of many favorite quotes for Ramli as he stands tall on the earth of Indian classical dance. Because the founding father of the Sutra Dance Theatre in Malaysia, Ramli has been displaying an unparalleled dedication to take the nuanced and dynamic type of Odissi dance to international audiences.

Ramli was in India just lately to attend Naman 2024, a prestigious annual Odissi dance pageant organised by the Nrityantar Academy of Performing Arts in Bengaluru. “As dancers, you might be interpreters. The extra you give, the extra you shine. Dance or the goddess of dance is your destiny. It’s important to be mad. It’s divine insanity,” Ramli says throughout an enticing interplay with the Bengaluru dancers.

Winner of the Sangeet Natak Akademi Award for Odissi in 2012 and Padma Shri in 2018 for his total contributions to Indian classical dance, Ramli added a big layer of depth to Naman 2024 as a cultural icon with 4 a long time of worldwide expertise.

At 71, Ramli doesn’t look his age. He was given a standing ovation when his troupe carried out An Invitation to Odissi, a tribute to the Guru Debaprasad Das college of Odissi at Naman 2024.

Love for Kerala

Throughout a chat with this paper, Ramli reminisced his memorable date with Kerala when he carried out at Nishagandhi Pageant, Thiruvananthapuram, again in 2010 and 2012. “I like to carry out in Kerala. I shall be glad to carry out in Palakkad specifically,” he mentioned, inquisitively asking in regards to the large puppets utilized in Kerala’s conventional artwork kind Tholpavakkootthu.

The second Malaysian to be given India’s Padma Shri Award after Malaysian freedom fighter Janaky Athi Nahappan, Ramli has been India’s cultural ambassador in Malaysia. When in India, he’s Malaysia’s cultural ambassador. He modified the dance scene in Malaysia by bringing large acceptance for Odissi there.

He has collaborated with many a global artiste. Amongst them was Malayalam filmmaker Shaji N. Karun, whose documentary named The Pondering Physique was shot by the river Ganga. “The temper Shaji captured was how a dancer’s physique is motivated by its personal science and intelligence. It was by the river Ganga. Anybody who dances there may very well be touched by the traditional river’s palpable divinity,” he mentioned.

Ramli and his Sutra Dance Theatre have transcended many cultural, creative and political hurdles in Malaysia, together with bigotry. “As we speak, Sutra stays testimony to the liberating presence of arts in Malaysia,” he mentioned.

“Politics is in all places. I’m doing Indian classical dance in Malaysia, which is present process lots of elementary turmoil. It will depend on the way you negotiate. Life is so relative. What one individual thinks might not be best for you,” he advised dancers.

In India, in keeping with Ramli, the dancer’s physique is a temple; in different places, the physique is a palace and the soul is the Raja. “Dance is a metaphor, and you’re employed with metaphor,” he mentioned.

“Modernity,” he mentioned, “is an individualistic viewpoint. Custom could be very a lot a collective. Modernity can exist inside the custom; however it’s important to know the principles earlier than you break them.”

Ramli Ibrahim and his Sutra dancers performing An Invitation to Odissi.

Even when admitting that Odissi has infinite prospects, Ramli advises the dancers to be a bit extra horny. “This can be a more durable world to outlive, a world of 45-second reels. You possibly can’t afford to chill out on this time. It is best to perceive the nuances,” he mentioned.

An Invitation to Odissi

Ramli’s ‘An Invitation to Odissi’ opened with Mangalacharan (Ganga Taranga), an invocatory piece paying homage to the sacred river Ganga. This was adopted by Sthai, a posh dance showcasing the foundational actions of Odissi, highlighting the dancers’ technical mastery.

The ashtapadi Lalita Lavanga, a love poem from Jayadeva’s Gita Govinda, was carried out with an interaction of expressions and complex footwork. The efficiency concluded with Suryastaka, a tribute to the Solar god, which embodied the religious fervour and charm defining the Debaprasad Das type. Ramli’s transforming of those classical items didn’t merely protect custom but additionally infused them with up to date sensibilities, making the efficiency accessible to trendy audiences whereas retaining its authenticity.

Ramli took on the position of the sutradhar (narrator), guiding the viewers by means of each bit, explaining the nuances of the dance actions, expressions and the storytelling custom inherent in Odissi. His presence on stage, whilst a narrator, added depth and connection to the efficiency, immersing the viewers within the feelings and mythology expressed by means of every dance.

Dancers Geethika Sree, Tan Mei Mei and Vickneshwaran carried out with precision and fervour underneath Ramli’s path. Every of them shone individually, but collectively, they wove a seamless narrative that captured the essence of the Debaprasad Das type. They bought a full home standing ovation

Siya Ram premiere

The Nrityantar dance ensemble premiered its newest manufacturing Siya Ram to a standing ovation on the Naman pageant. It was a dance drama unfolding the timeless story of affection, devotion and valour between Sita and Ram, set in opposition to the wealthy backdrop of the Ramayana.

Rashmi Divakaran (Ram) and Madhulita Mohapatra (Sita) in a romantic scene in Siya Ram.

The narrative opened in Ravana’s Ashok Vatika the place Sita was ruminating her stunning time with Ram. The flashback to the primary assembly of Ram and Sita was depicted with beautiful choreography set to a lyrical pallavi. The Swayamvara scene infused lots of power as a number of suitors, together with Ravana (enacted by Sahana Raghavendra Maiya), didn’t string Shiva’s bow, whereas Ram effortlessly broke it, symbolising his victory and love for Sita.

Rashmi Divakaran gently embodied the divine aura of Ram. The following celebratory Odia track, depicting Ram’s return to Ayodhya, captured the joyous temper. Because the story progressed, the extreme duet between queen Kaikeyi (performed by Nandhana Sashikumar) and Manthara (enacted by Dr. Anupama Kumar), who cunningly satisfied the queen to demand Ram’s exile, marked a dramatic shift. Manthara’s manipulative techniques, portrayed with sluggish, scheming actions and intense music, contrasted with Sumana Das’s portrayal of a heartbroken King Dasharatha.

Sahana Raghavendra Maiya (Ravana) looking for alms from Sita disguised as an ascetic.

The scenes of their life within the forest captured the straightforward and glad existence of Ram, Sita and Lakshmana, reflecting the concord and peace of their exile. Surpanakha, portrayed by Soni Tarasia, made a placing entry, mixing humour with intense drama. At first showing as a good looking damsel, she swiftly revealed her demonic kind after being spurned by Ram and Lakshmana, resulting in a climactic second the place Lakshmana severed her ear and nostril.

The encounter with the golden deer, the place demon Maricha remodeled right into a charming creature to lure Ram away, was mesmerising, resulting in Sita’s earnest plea for Ram to seize it. Angeleena Avnee introduced Maricha, the golden deer, to life with grace and agility as she danced and pranced throughout the stage. The strain escalated as Rama left, and Maricha’s deceitful cry set the stage for Ravana’s abduction of Sita.

Sahana Raghavendra Maiya’s portrayal of Ravana, shifting from a disguised ascetic to his true, menacing kind, was chilling, along with his highly effective dance and expressions embodying vanity and malevolence. The confrontation between Ravana and Jatayu, the noble vulture, was fascinating. The valiant Jatayu, depicted by means of sweeping dance actions, fought Ravana to avoid wasting Sita however was fatally clipped. The unhappy music accompanying Jatayu’s fall added a poignant layer of sacrifice to the scene.

The narrative then shifted to the efforts of Hanuman, who leaped throughout the ocean to seek out Sita in Ashok Vatika, reassuring her and promising Ram’s arrival. Aditi Das’s portrayal of Hanuman was stuffed with power and devotion, and provided a comic book aid. The ultimate battle between Ram and Ravana was a spectacle with vigorous dance actions, rhythmic use of conventional dhols and energetic choreography, culminating in Ram’s victory and Ravana’s defeat.

The Jatayu-Ravana battle scene from Siya Ram

The reunion of Ram and Sita, marked by a soulful track, introduced a way of closure and emotional fulfilment, celebrated by means of a vibrant ensemble dance. Every dancer, from Madhulita Mohapatra as Sita, Rashmi Divakaran as Ram, Prishna Sinha as Jatayu, Dr. Anupama Kumar as Manthara, Angeleena Avnee as Maricha, Soni Tarasia as Surpanakha, to Sahana Raghavendra Maiya as Ravana, delivered a nuanced efficiency, with the choreography, music and execution reflecting the depth of their characters and the epic’s narrative.

Directed and choreographed by Madhulita Mohapatra, with music composed by Rupak Kumar Parida and rhythm by Guru Dhaneswar Swain, Siya Ram: The Everlasting Saga was a masterful retelling of the epic. It might depart the viewers with an enduring impression of the everlasting values of affection, religion and the triumph of fine over evil.

ODC efficiency

Dancers of Odissi Dance Centre (ODC) underneath the steering of Devjani Sen, a disciple of the legendary Kelucharan Mohapatra, offered two dance items, Rasamanjari Pallavi and Hanuman Chalisa, every providing a glimpse into the troupe’s strategy to Odissi dance.

Dancers of Odissi Dance Centre acting at Naman 2024.

In Rasamanjari Pallavi, their opening piece, set to Raga Khamaj and composed by Binod Panda, dancers maintained the grace and foundational approach attribute of odissi with first rate coordination amongst dancers. Devjani’s newest choreography on Hanuman Chalisa, was set in Raga Maalika and Tala Maalika, with music composed by Sukanta Kumar Kundu. With clear narrative intent, dancers managed to convey the essence of the composition with synchronisation and power. Aditi Rajpal, Akshatha N. Tirumale, Anavi Mullick and Sohini Guha carried out for ODC.