Kerala has become a very important and special part of my artistic journey: Madhulita Mohapatra

Odissi dancer Madhulita Mohapatra was in Thiruvananthapuram to perform at the Nishagandhi Dance Festival. Speaking to us about the significant role Kerala has played in her artistic journey, the Bengaluru-based dancer says, "Kerala has become a very important and special part of my artistic journey. Over the years, awareness and interest in Odissi have certainly grown, and it is heartening to see audiences connect with its essence. I still remember my first performance in Kerala in 2012 at Guruvayur Temple. I presented an expressive piece on the leelas of Lord Krishna, and the entire experience felt deeply divine."At Nishagandhi, Madhulita and her group presented two Odissi dance pieces, "showcasing different dimensions of devotion and storytelling". "We began with Shivam Dhimahi, an invocatory offering to Lord Shiva as Nataraja, the cosmic dancer. The piece highlights some of the powerful attributes of Shiva. This was followed by an abridged excerpt from our larger production, Colours of Krishna, presented by Nrityantar Dance Ensemble. The piece journeys through the many shades of Lord Krishna," she elaborates.'Tradition is not a cage; it's a foundation'Madhulita, who is known for her inventive choreography, explains, "When I choreograph, I begin with careful listening and learning — immersing myself in the music, the poetry, the mood, and the essence of the idea I wish to communicate. I try to ensure that whatever emerges feels natural to Odissi and grows organically from its language. We attempt to bring freshness through the way a piece is structured, its pace, the storytelling, and the emotional journey — while keeping the classical purity intact. Our gurus have taught us that tradition is not a cage; it is a foundation. When we are rooted, we can explore freely. And when we explore with respect, the art stays alive — relevant to the present, yet faithful to its timeless beauty."She adds, "For me, being ‘updated’ does not mean changing the soul of Odissi. It means finding fresh ways to present it so that today’s audiences can connect — without losing the classical strength that defines Odissi."'People now embrace dance as a lifelong journey, not just a childhood pursuit'The fact that people are embracing dance at different stages of life shows that art is no longer seen only as a childhood pursuit, but as a lifelong journey. I have personally witnessed how women in their 30s, 40s and even 50s come to dance with deep sincerity and emotional maturity. They may begin later, but they bring lived experience, sensitivity and gratitude to their practice. Dance becomes not just a performance, but a process of personal rediscovery and inner growth. In that sense, age is truly not a limitation—it is often an added strength.'Adaptation should emerge within the classical framework of an art for, not outside it'Our classical dances possess an incredibly vast and intricate vocabulary. They have the capacity to communicate both timeless narratives and contemporary concerns without losing their identity. I believe adaptation should emerge from within the classical framework, not outside it. I may sound slightly traditional, but I feel that change and classicism need not be opposites. When we remain grounded in discipline and respect for tradition, there is ample scope for new ideas, fresh storytelling and relevant themes