Rituparno absorbed Odissi like a sponge: Sharmila

Though Sharmila Biswas taught Rituparno Ghosh Odissi for his film, the danseuse says the artform doesn���t need the film route to get popularized
Why was Odissi chosen as the dance form in Rituparno Ghosh���s Chitrangada ��� The Crowning Wish?
When Rituparno first discussed this project with me, I had asked him why he wanted to use Odissi in the first place. It���s common to associate Chitrangada with Manipur and Manipuri dance.Then I was told that according to the Mahabharata, Arjun had traveled down coastal India to finally reach Manipur. He had cross-checked it with Nrisingha Prasad Bhaduri to find out that the Manipur referred to in this context was not the place that is referred to in the political map of India now. Rather, there is an association with Odisha.
In the larger context, one needs to understand that his film isn���t about dance per se. Rituparno is playing a choreographer and the film is about his life as he is growing while the staging of Tagore���s dance drama is in progress. Rituparno probably thought that I would be able to create that mood and explore the dynamics that involves this growth. He wanted someone who is used to new ideas. In the film, he is playing the role of a modern-day choreographer who also has an understanding of the world of dance.
When Ratikant Mohapatra taught Shilpa Shetty the nuances of Odissi for Desire, the latter was surprised to be asked not to do anything that she would ideally do for a Bollywood number.
How was the experience of teaching Odissi to Rituparno?
As a student, Rituparno is extremely sensitive. He absorbs like a sponge. It is not just the physical movements but the understanding of the music and dance that���s important for him. He is extremely clear-headed. In some of the scenes where he has actually danced, he did a good job. He had told me that if I want to do a footballer���s role, I will first learn the attitude of a player. He tried to emulate the inner nuances in our art form. In a sense, both he and I were students and teachers since we had a meaningful association.
Films in India often help in popularizing dance forms. In that context, do you feel Odissi has not been privileged enough?
I don���t think we need the film route to popularize Odissi. At least, that���s not how I view it. I do not belong to the school of thought that rues the decline of our art form. Those who have studied Odissi will know that this dance form has gone through various phases. Even a hundred years ago, there weren���t that many female dancers. Yet the form survived through the gotipuas. While other dances of India saw a revival, Odissi remained one of the last dance forms to be revived. These days, the number of platforms for presenting Odissi has increased. People abroad are showing so much of interest in learning Odissi. It���s not just a question of increase in volume. There are many who are trying to add something new to the dance form. I am optimistic.
There is a debate over whether it is fair to simplify the costumes while performing Odissi or not. What���s your take?
Yes, that���s an issue that often comes up. The moot point is whether to continue with the gaudy costumes of a temple dance or to simplify it. We no longer wear those cumbersome costumes used for temple dance. But we are still using very decorative costumes. My guruji, Guru Kelucharan Mohapatra, used to wear a simple dhoti when he danced. I believe, the costumes of Odissi were conceived keeping in mind the context of the presentation. The choice of a costume and the colour are always matters of individual preference. There are people who want to change and not accept the traditional costume as a uniform. I believe whatever one wears must project the essence of Odissi. The desire to do something new doesn���t mean one wears a ghagra and performs Odissi. If you have to break a rule, it is first important to know the rule in and out. I sometimes do question the need to adhere to this costume and whether it will make my dance come forward or not. But that���s the thought process of a 50-year-old woman who loves to dance and is dancing. Someone else might not find my views that relevant.
Should there be a retirement age for performing artistes?
No. Retirement age for a performing artiste is more of a Western concept. I feel, you need that age limit embargo only if the dance is a physical activity. In our country, people start developing as an artiste after 30. That���s because physicality alone doesn���t constitute Indian dance. I had recently seen the performance of Kumudini Lakhiya in Ahmedabad. She had crossed 70 then and had shown me a small piece of abhinaya. Those half her age would never be able to perform the same piece with as much of intelligence as she did. That, I am sure, came out of experience.
Is there anything you wish was done differently in Odissi?
Sometimes, it gets a little mechanical. The idea is that few question a norm. But, I believe that unquestionable acceptance is not a sign of growth. Raising questions respectfully should never be viewed as an attempt to demean an art form.
You are working on your new production now. What���s it about?
It is called Chaturmukhi. It is a four-part production and is influenced by one specific region of Odisha. Through this, I want to showcase the different faces of Odisha and how art thrives in different pockets of the state. The first piece is on Debi Sambaleshwari and is a ritualistic performance. The second piece has music by Prahlad Nataka that is from the south of Odisha. The third piece is influenced by the Vaishnava philosophy and showcases the Pancha Rasavali. The final act is a celebratory piece that is influenced by the processional dance we see during Rathajatra. I plan to premiere it in November in Kolkata and subsequently present it at the Dhauli Festival.