There is divinity and devilry in every soul represents Nayaka and Pratinayaka. This existence of vice glorifies the victory of virtue. Depicting this concept, the Odisha Dance Academy with support from the Union Ministry of Culture staged Pratinayaka on Friday here.
It was commenced with an old traditional composition of Nilachala Rasika Mani as Mangalacharan. Krupanidhana sprinkled vivid colours of festive rituals related to the Jagannath cult such as Chandana Yatra, Jhulana Yatra and Ratha Yatra. It was followed by abhinaya Pratinayaka.
Depicting different characters in different ages portrayed the devil and divine. The concept of Pratinayaka is based on the Indian aesthetics, where it is not anti-hero or opposite to hero, but a prototype of the Nayaka in Nayakaveda, with equal importance to glorify the Nayaka.
In every era, the existential monologue of Pratinayaka to Nayak is: 'I am - therefore you are.' This makes difference between the Nayak and the Pratinayaka gets merged and in the contemporary era, this mythology refers to as Kali Yuga. It is the time when the invincible time is synonymous with both the Nayaka and the Pratinayaka making every human being victors and victims to their own virtues and vices.
Following the Shrimad Bhagabata, Pratinayak signified the victory of truth despite the darker attack of time. Magnificently rendered in poetry by eminent poet Kedar Mishra, Pratinayak was well adorned with musical compositions by Guru Ramhari Das, apt rhythm composition by Guru Dhaneswar Swain and Bijay Barik.
Yet, according to the critics, the act drastically failed in execution and at times in choreographic composition. Many a time, depicting Hari in Satya Yug, the dancers on stage poised as Krishna playing flute. Proportionate blending of Bhaba and Rasa was missing throughout the performance. Most of the dancers on stage lacked the basics like Anga Shuddhi, while Abhinaya was a disaster. Many a time, they failed to render proper Bhabas and Rasas like Raudra and Adbhuta, even though there are thematic scopes. It seemed most of the Odissi dancers in Odisha were getting confined to depicting Shringar concepts only.
Those who have seen magnificent choreographic compositions like Gatha Odishi, Varsha-Abhisara, Jatra Baramasi, Arjuna Dui Adhyaya, Khamaj Pallavi and Krupa Nidhaana expected more from the students of eminent exponent Guru Aruna Mohanty.
Eminent danseuse and scholar Dr Minati Mishra along with Guru Ramahari Das and Odisha Dance Academy Secretary Aruna Mohanty were present.