Choreographies / Productions
ODISSI DANCE REPERTORY
In the prevailing items of Odissi dance repertory; which comprise of five different sequential items; Mangalacharan, Batu Nrutya/Sthayee, Pallavi, Abhinaya and Mokshya; Kasturi Pattanaik has created “Thei Ghara Nata” as the alternative to Batu Nritya/ Sthayee as the second item of Odissi dance repertory and substituted Mokshya with Nirvana as the fifth item. The new style also reinterpreted the classical canvass and artistic spectrum of Odissi dance in the other three remaining items.
Kasturi Pattanaik through her choreographies and productions on Mangalacharan; has been emphasising its original purpose as a holistic and sublime invocation (Abahan Puja). Her new creations in Mangalacharan has brought about integration of the sequential short performances of mancha puja (alati, puspanjali and pranam), dhyana (atma samadhina), bhajan (katha-kruti) and kritan/sankirtan in their varied artistic dimensions; with divine salutation to the universe and the cosmic whole; in place of the existing format of Mangalacharan; which includes the bhumi pranam and the trikhandi pranam-a threefold salutation, above the head to the Gods, in front of the face to all the gurus (teachers) and in front of the chest to the respected audience.
Her Mangalacharans are a state of deep divine and meditative absorption, characterised by a constant thirst for divine illumination and spiritual guidance in a listless lifestyle.
THEI GHARA NATA
Thei Ghara Nata, is one of the artistic mainstays of Kasturi Pattanaik’s new creations in Odissi dance. The pure dance testifies her own distinct style in Odissi dance. Thei Ghara Nata has been specifically conceptualised, composed and choreographed by Kasturi Pattanaik as the second item in the repertory of Odissi dance; as a creative alternative to Batu Nritya/ Sthayee.
Thei Ghara Nata is highly engrossing and captivating. It provides the highlights of major creative developments in the evolution of Odissi dance from its formative phase till its flowering into a full-fledged classical dance. The pure dance has been endlessly enriched and immensely improvised through the constant performing artistic endeavour of Kasturi Pattanaik.
Kasturi Pattanaik has explicitly working, in fact has made path- breaking contribution to enhance the elegance, embellishment and enchantment of inner hidden beauty and depth of Pallavi through her new choreographies and creations. In fact, Kasturi Pattanaik has choreographed largest number of Pallavis, with wide ranges of Raags and Taals to enhance the artistic breadth and depth of the lyrical performances of Pallavi dance. All her Pallavis are treasure of her own ideas, concepts, techniques and music. She has also brought the harmonious blending between human and animal movements in one of her Pallavis-“Gati Sammikrutta”
Kasturi Pattanaik has created nine Pallavis, which are based on the ragas like; Charukeshi, Pattadeep, Gati Sammikrutta, Hansadhwoni, Narayani, Janasammohini, Asavari, Bageshri, Sankaravaran
Abhinaya signifies “the art of expressions” or the art of "exhibiting the meaning of what one depicts.”
Abhinayas, choreographed by Kasturi Pattanaik, have provided wide-ranging interpretative and emotive expressions to the varied poetic work, and contributed towards making Abhinaya as the most captivating and enchanting item of Odissi dance. She has also attempted to integrate Odissi gayan padhati (typical traditional performing style of Odissi music) in Abhinayas. The other notable feature of her Abhinayas is providing adequate artistic space for Champu (poem comprising of both prose and poetry) and Chhanda (metrical verses)-which are the essence of the traditional Odissi music and, which, being part of intangible culture, are in the process of extinction.
Nirvana is proposed to be the finale item of the performance. Nirvana has been created by Kasturi Pattanaik as a creative alternative to the existing practised format of Mokshya, with larger creative canvas and artistic appeal. Although the basic concept of salvation remains intact and unchanged; Nirvana has replaced mokshya’s single nritta (pure dance); with new ukkutas (bols/vanis) and new nrittas (pure dances).
Dance dramas in Odissi dance style has been the creative passion of Kasturi Pattanaik. From her early age of performing arts career, she has been choreographing and performing in dance dramas, which have received wide artistic accolades. Her most recent production- “Chitrangada”, has received huge acclaims for its enthralling and innovative theme, choreography and music. Chitrangada has been staged across the country; including in the inaugural function of Guru Rabindranath Tagore’s 150th Birth Anniversary, observed at Rabindra Bhavan, Bhopal.
The Dance Dramas, choreographed by Kasturi Pattanaik include:
The Deer Krishnasara (Krushnasara Mruga)
Yama Savitri Sambad
Sabari Upakhyanam (Nabadha Bhakti)