In a quiet corner of California’s Bay Area, an extraordinary evening unfolded on June 14, 2025 — one that brought the classical splendour of Odissi to life, not as mere performance, but as a profound invocation of tradition. The Kelucharan Keerti Sampradaya Festival, hosted by Gurushraddha, emerged not just as a showcase of dance, but as a reflection of unwavering devotion to a legacy that spans continents.
Founded in 2008 by Smt. Niharika Mohanty, Gurushraddha has gradually evolved from a modest beginning into a vibrant hub of Odissi practice. Under the continuing guidance of Guru Ratikant Mohapatra, Smt. Sujata Mohapatra, and Niharika herself, the school has become a sanctuary for aspirants who seek not only technical proficiency but a deeper cultural and spiritual grounding. Their students, many balancing intense academic and professional paths, come together in shared pursuit of excellence — their commitment resonating in each movement, each glance.
PHOTO-1 _ Gurushradha Ensemble
The program opened on a serene note. “Shantakaram Bhujagashayanam,” that timeless invocation to Lord Vishnu, came alive in Guru Ratikant Mohapatra’s choreography — a composition that radiated tranquility and sacred stillness. The dancers’ synchronicity transformed the hymn into a visual prayer, inviting the audience into a space of introspection.
This meditative beginning gave way to youthful exuberance in a Jagannath Stuti choreographed by Sujata Mohapatra. Here, devotion was painted in vibrant hues — young dancers offering their bhakti with grace and playfulness. Their joy was sincere, their movement pure, and the divine presence of the Lord of Puri was felt in every gentle sway.
In a shift that was both spiritual and pedagogical, the Guru Vandana followed. “Guru Brahma, Guru Vishnu” became a guided journey through the alphabet of Odissi — where mudras, bhangis, and expressions weren’t merely taught but internalized. This tribute was not just to the Gurus, but to the families nurturing this art form — the unseen pillars behind each dancer’s journey. This piece was choreographed by Guru Ratikant Mohapatra.
One of the evening’s gems was the presentation of Batu Nritya — a masterwork dating back to the 1950s, created by Guru Kelucharan Mohapatra. Known for its sculptural beauty and rhythmic precision, this pure dance number bridges the temple traditions of Puri with the stage. The dancers rose to the occasion, capturing the essence of the piece through form, focus, and refined footwork.
PHOTO-2 _ Gurushradha Ensemble
The program flowed onward with Gita Govinda’s poignant verses — “Lalita Lavanga Lata” and “Srita Kamala” — reimagined for ensemble performance. Coupled with a graceful Hamsadhwani Pallavi, these numbers offered a delicate balance of lyrical beauty and rhythmic challenge. The group choreography, developed collaboratively with dancers and Niharika, stood out for its fluid formations and emotional clarity.
PHOTO-3 _ Smt. Sujata Mohapatra
A crescendo was reached with two remarkable presentations by the Gurus. Jatayu Moksha, choreographed by Ratikant Mohapatra and performed by him alongside Sujata Mohapatra, was a compelling duet that brought the legendary tale of sacrifice and valor from the Ramayana vividly to life. Their nuanced portrayal, marked by dramatic expression and impeccable coordination, transformed the stage into a canvas of deep emotional storytelling. This was followed by Varsha, a lyrical solo by Sujata, which beautifully captured the mood and rhythm of the rains. Both pieces carried the weight of decades of dedication and refinement. Their presence on stage was not just a performance — it was a transmission of lived experience, where technique seamlessly merged with profound artistry.
PHOTO-4_ Guru Ratikant Mohapatra
One of the evening’s most stirring segments came with Ratikant Mohapatra’s abhinaya of Banamali Dasa’s bhajan, “Dinabandhu Ehi Ali Srichamure.” Through this evocative piece, Ratikant’s performance radiated an interior stillness that could only emerge from years of meditative engagement with the art form. His abhinaya — restrained, profound, and deeply intuitive — unfolded like a prayer in motion. Every movement mirrored the emotional terrain of the bhajan, allowing the audience to glimpse the same depth of devotion that once characterized Guru Kelucharan Mohapatra’s interpretations. The performance was not merely seen; it was felt — as a quiet communion between the dancer, the Divine, and the onlookers.
By the end of the evening, one felt something intangible yet deeply stirring had transpired. The stage had been a crucible — where tradition was not only preserved but kindled afresh. This was no nostalgic re-enactment; this was the living body of Odissi — breathing, evolving, and illuminating.
Smt. Niharika Mohanty must be lauded — not just for organizing a festival, but for shaping a generation of dancers who carry forward the light of Guru Kelucharan Mohapatra with humility and purpose. In her dedication lies the quiet revolution of keeping classical arts not only relevant but radiant.
