The fluency and seamless transference from music to dance- could be seen in their work. A passion for Odissi drove this dancer and her husband Raghunath Panigrahi, who would sing and compose of her. The symbiotic relationship between Dance and Music came to the forefront in Sanjyukta Panigrahi?s dance. It was instead a seamless oneness, of breath, of heartbeat, of cerebral currents, that made Sanjyukta Panigrahi the embodiment of the Kelu Sir? style, and in her lifetime, the human reflection and face of Odissi. It was no ordinary umbilical cord, binding the creator and the created, which stretched between them. Guru Kelucharan Mahapatra was to find this disciple in the late Sanjyukta Panigrahi.
Every Guru seeks the perfect disciple, who would become his medium of expression and the benchmark of his creativity and contribution. The cycle of union and separation, the hallmark of Vaishnava thought, continues in this song of Radha, abhinaya to which is done by Guru Kelucharan Mahapatra. In the larger perspective, what Radha is asking from Krishna, is a return of her Radhatva. The imagery revives the memories of the passionate love play in which Radha lost her self, her distinctiveness and her identity, in the union with Krishna. After spending a night of passion together, Radha asks Krishna to cool flaming fires with the application of sandal wood paste on her breasts, to reapply her collyrium to sharpen the line of her eyes, to rearrange her hair that was tousled the night before by his urgent hands. 10 secs.) The penultimate ashtapadi from Jaideva?s immortal allegory ?Geet Govind catches a brief moment in the love play between Radha and Krishna, but encapsulates a deep philosophy, as the ashtapadi moves from the erotic and sensual, to the sublime. Ashlapadi-Kuru Yadunandana (Dur 5mins.Rama overwhelmed by his love blesses him with gift of devotion. Seeta takes her ring and offers it to Guha but Guha declines to accept it, as just to have a glimpse of Rama was his cherished dream and he would not accept any material gift for ferrying them. After crossing the river Rama wants to give him something as token of love. All these innocent arguments are given by Guha only to seek permission to wash the feet of Rama, which is granted to him. Initially Guha the boatman refuses to take Rama across the river as he recalls that by touch of Rama?s feet a stone was turned into a woman and he would not like his only source of living, his boat, to turn into a woman or anything else. This episode is a fine example of complete surrender to Rama. Who could be a better master in Odissi than Kelu Babu, whose manipulation, consisting of the constriction and release of emotional energies, brings to life the canvas of feelings that cross the mind of the boatman Kevat who ferried Lord Rama, Sita and Lakshmana across the River Ganga. Thus only a master artiste is comfortable with this kind of freedom in expression. The openness of signs contrasts severely with the structured grammar of symbols. The paucity of dedicated symbols, compel the artiste to use signs evocatively.
The rare piece, which centres around ordinary human beings, therefore, succeeds easily in touching the heart. While, all could draw values and lessons from lives at the archetypal heroes, few could identity with them. Yet, going by their origin, the classical art at theatre and dance became, at sociological level, the democratising force making the secrets at the Vedas available in a doubly distilled manner, to all who watched. 23 secs.) The heroes at stage space in the classical performing arts of India are normally the high and the noble born. He also molded, like a patter, the largest body at dancers blazing a trail around the world. His most notable signature was the embellishment at dance with filigree strakes at movements, inspired by the ?patachitra? tradition of Raghurajpur - his village and home to the traditional artists. This flame was to leave its impress an the dance style and its repertoire. The genius at Guru Kelucharan Mahapatra is such that he coalesced the impulses at all the arts he had been exposed to and kindled a unique flame of creativity. Theatre then was a composite and comprehensive art - using dance, drama, music and dialogue. In an act at defiance to his family?s tradition, he became part at the regional theatre movement. Born into a family at traditional painters, Guru Kelucharan Mahapatra was fascinated by the regional theatre at Orissa. One at the greatest Masters and architects of contemporary Odissi was Guru Kelucharan Mahapatra, recipient at hundreds of awards, including the Padma Vibhushan.
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