In the Presence of a Maestro: Sharmila Biswas on Learning from Kelucharan Mohapatra

Guruji defined Odishi dance.

He created and defined grammar, and also took Dance beyond technicalities.

His Mardala, was a revolution, and created the distinct Odishi style of Mardala.

He worked on compositions, he worked on stage and costume designing to the last detail.

He absorbing stimulations, he evolved constantly.

He inspired. Many.

But all these, everyone knows.

I will share some of my personal thoughts, As just disciple.

He travelled to different places to teach. He had this astonishing ability to understand the mindset and the ability of each group of dancers. He could enter their wavelengths, and accordingly adjust the method of his teaching. I could learn most of his compositions repeatedly, as I often joined the workshops in different places. I experienced directly his genius in every aspect of his art. The gaps that came between classes when he travelled were chances for every student to imbibe the substance of his teaching and grow independently according to their inclination and aptitude.

These are the reasons why, I think, one sees many of guruji’s students having distinct identities, yet displaying, very strongly his gharana. I remember my first day in his class. He was teaching Mardala to his son and I stood before him and timidly said that I was his new student. He simply indicated to me with the nod of his head to take a place, and from that moment I became part of the class. There were no elaborate introduction, no Guru Puja and no questions to answer. I was totally ignored for a few days. One day after a class I was called to his room and then Guruji and Guruma asked many questions about my life, my plans on dance, and I realised how much he really cared for his students and how much he quietly observed. That was at Padatik, in Calcutta.

When after a year and a half I turned up in his house in Cuttack with little notice and two suitcases to tell him that I would have to stay in his house to learn properly — again there was no discussion. I was just absorbed into the household routine.I spent some of the most satisfying times of my life there. I felt settled for the first time.

In the dance classes, just a small remark, a cursory glance or an unexpected gesture would reveal to me the picture of dance that was beyond the immediate. After a day of very hard work, when he still complained about my lack of progress, I’d got frustrated and said I didn’t know what more I could do, I had practiced so hard! He turned around and said, “It is not how much you work. It is how you do it. That decides your progress”.

Each time he taught an item he’d do it a little differently. We had to quickly adapt to the new movements. One day one of us muttered, “Change again?!” He was livid with anger. All he could say repeatedly was, “No change! No change!” And we were quiet. Now I understand that each time he revisited the dances, there were new visions, new extensions, new details. I came to learn that one couldn’t say that this is where a composition stops. This lesson has influenced my work deeply. The concept and the backbone of my compositions remain the same, but I can never freeze the thoughts or details, they change as I move on to other planes.

Once, while waiting to be picked up he was sitting on a rocking chair reminiscing about his days in Annapurna Theater, in Kalavikas Kendra and in general about all that he had done in the past. He said something then, just in passing, “Whenever, whatever work came my way, I would just roll up my sleeves, bow down my head and work. I never once raised my eyes to ask what I would get out of it.”

I played the role of Padmavati — the heroine in the film Jaydev.

Guruji’s input as a choreographer was the highlight of the film.As usual Guruji, once at the shooting, was totally involved in the entire creative process — the shot divisions, the costumes, the sets, dialogues. He would include other accompanying actors who were not even dancing. In Guruji’s eyes, there was no compartmentalization in the creative process. With a great curiosity and energy he would observe and and learn new skills. And then he would contribute to the production without any hesitation, with great clarity.

I was more than a little proud when the time came to attend the premier of the film in Bhubaneswar. I would have liked to go in a car, and step out in style. But Guruji would hear nothing of it. Even though the producers wanted to send a car — he thought it was totally unnecessary. So we took a bus from Cuttack to Bhubaneswar, and then a rickshaw to the Cinema Hall. For most of the journey Guruji had a wet gamuchha on his head to keep the heat away. I did not know where to look, when we arrived at the gate. The royal reception he received was indeed a humbling experience for me.

I have had the opportunity to participate in many of his dance productions. The memories of each of these productions I cherish — specially the rehearsals, the music compositions and recordings, and the tours. He used to be completely engrossed and any little disturbance would irritate him while working. We used to be really petrified of Guruji’s anger. But he never carried his anger outside the rehearsal. He would be cheerfully feeding us Rasagullas from the street shops, and cracking jokes.

He hated untidiness and clutter. He said he couldn’t concentrate until the mess was all cleared up. When I think back I realize there was not one bit of furniture, or one piece of decoration just to look pretty in his house in Cuttack. I see now how much his ways influenced me. My home is stark, but is lit up with the laughers of the Dancers, Singers and so many other Artistes.With each of his students his equation was one-to-one. Each was special. Each of us cherishes moments with him that is immeasurably precious.

There were many moments, many conversations, — I could not quite grasp their meaning at that time. I understand them better now. I also understand that their importance will continue to be further revealed to me as the days pass. I hope I can pass on to my students what I learnt from him, maybe add to it a bit of my own perceptions.

A thought on the role of Guru, which I learnt quite late in life. Mothers Nurture, Fathers Provide. I wanted to be a good teacher by playing the roles of Mother and Father. But now I realise that a Guru provides you with the life skills, and teaches you to Live Life, Your way. For that a Guru needs Firmness and Detachment, which are actually other names of Generosity, Sensitivity and Affection.

Music and Dance:

Narad says — Sangeet is a combination of music, rhythm and dance.

Natya combines these three with drama, according to Bharat Muni. For Indian Performing Art these four elements are inseparable. It is perhaps the influence of the western world, which has compartmentalised our art, and thus, in the past hundred years the gaps have increased so much that the practitioners, the students and the audience can hardly conceive art as an integrated form.

Today, we are not Rasikas any more, we ‘view’ dance, and ‘listen’ to music. We are silent audience, distanced from the art and artistes. To enjoy music, we need to see the spirit of music dancing, creating designs. Every note, every beat breaths. We see movements and expressions deep inside a singer’s eyes, even when she is perfectly still. When we watch dance, even with audio switched off, we can feel the music, generated from the dancer’s body, also emerging from our own mind. There are rhythm in every movement.