After a long hiatus, one could witness a dance performance of such gracefulness. In COVID times, a young dancer like Lipsa Satpathy can only be applauded for performing on a global concert the four Nayika-bhed with such fineness!
In her first enactment as Basabsanjjiaka nayika, she goes gushing her way to the garden with an amorous water body. She is seen plucking flowers, adorning her abode and decorating her flower bed. She is seen addressing her sakhi of the impending arrival of Krishna. She goes on to describe what she plans to do with Krishna. The waves of love so lovingly described in Sakhi go mora kunja ku aaja!
In her second piece, Lipsa dances of her waiting from day to night, she the Birahakanthita Nayika sings ‘Aago duti aaja rati shyama priti nohila go’ she decorated her space, lighted incense stick yet there is no sign of her lover! She throws her ornaments here and there. While she waits he goes away to another woman.
Lipsa then beautifully slides Khandita nayika in the refrain ‘Jaya he lampata natabara sahamita’ she expresses her anguish over the love marks on Krishna body. The simple truth of another woman devastates her and Lipsa leaves us stupified in enacting how she feels about the infidelity of Krishna.
The simple interplay of music and moods of the Nayika in remembering her absentee lover and attaining the essence of a woman in love, what accomplished dancer this young lady is!
In her last piece Swadinapatika she offers gratitude in ‘Laje mu gali ti sahi leelanidhi’ to her ornate beautiful self. She enjoys her share of love play and is seen satisfied by her lover!
The easiness of her performance and the grasp of the art form is both so well entrenched that we hardly see any slip in any step.
In such dire times, dancers should continue to play their roles as social carriers and I wish Lipsa keeps such hopes alive!
