Beyond the Dance Class
March 30, 2023
The inevitable and profound impact of Kala Vikash Kendra upon some of its North American Alumni was explored recently through a conversation between Sangeeta Mahapatra Kar, Nandita Behera, Rohini Doshi Dandavate, Tikli Meena Patnaik, Jayashree Mohapatra, hosted by the Odissi Alliance of North America. Reflections on the unique pedagogical and creative experiment that was KVK, in its earlier days and how that time has gone on to sustain the creative lives of attendees were generously expanded upon. The virtual sharing of time and space by KVK alum and the internet audience felt warm and empathic as Odissi dancers and connoisseurs in North America were enamored to hear the experiences of senior artists in their childhood and teens. The bonds fostered between these artists in KVK were palpable as each artist shared their fond memories of training, performing, and traveling with each other. Panelists talked about the systematic teaching of music and dance while noting how one of the primary attractions was the bonding, which congealed not only inside the dance studio. Connections grew in collective rickshaw rides, in traveling to various performances, and in performing together in an ensemble-format, often in multi-lingual productions, such as, Bengali poet Rabindranath Tagore’s dance-drama Pujarini (1958) and Sanskrit poet Kalidas’ Shakuntala (1960).
KVK was a formidable experiment as dancers, musicians, theatricians, and scholars were invited to create and implement the curriculum. “Through KVK, we have come very close to greatness,” notes Charlotte-based artist Tikli Meena Patnaik. This notion was echoed by the remaining panelists noting how they encountered important names in the field of Odissi—Shri Babulal Doshi, Guru Kelucharan Mohapatra, Pandit Bhubaneswar Mishra, Sri Balakrushna Das, Sri Bhikari Bal, Guru Ramani Ranjan Jena, Guru Raghunath Datta among others. KVK nurtured students through a holistic immersion in dance and allied arts. Students were encouraged to learn Odissi music as well as folk forms of Odisha. They maintained a daily journal writing down the contents of each day’s studies known as Aaji Book. This was also to ensure parental involvement and student accountability in the daily activities at KVK. Assessment of theoretical concepts as well as practice knowledge was integral to evaluation and progression in the program. Smt. Nandita Behera shared about her unique experience in the residential learning program. She stayed in the hostel and as a young teenager, used to “sit and watch gurus with wonder.”
Panelists noted that KVK attracted students from various parts of the world at that juncture in time given its comprehensive learning program and a long list of accomplished contributors. Whether for self-actualization in spiritual practice or ambition to become an Odissi soloist, KVK was nurturing grounds where there was a synergy of vision and leadership, curriculum design and implementation, and performance and creative dissemination. This experiment developed at a time when Odissi dance had not achieved its international popularity, acceptance, and appreciation. One of the biggest takeaways of the session was the message of the indomitable spirit of a dancer. Holistic immersion in literature, music, and dance through linguistic, cultural, and artistic imprints led the artists beyond the what to the how and the why. The session ended in a discussion involving the current status of KVK in the field of Odissi and its role in the development and implementation of contemporary Odissi curriculum. Dr. Ratna Roy, who was in the audience, commented that this felt like a deeply “enlightening forum.”
Please access the Odissi Alliance of North America's YouTube playlist to watch video highlights of Celebrating a Groundbreaking Odissi Institution: Reflections on Kala Vikash Kendra with Esteemed North American Alumni and please subscribe to OANA's YouTube Channel
