Jhelum Paranjape “Grace and fluidity of Odissi fascinates me the most”

One of the foremost exponents of Odissi in Mumbai, Jhelum Paranjape’s contribution towards the propagation,promotion and enrichment of the Odissi style,spans for almost three decades. In 1989 Jhelum established Smitalay as a tribute to the late actress Smita Patil. In an interview with VIJAY SHANKER, Jhelum narrates her experiences as a performer, teacher, choreographer etc.

 

How were you initiated into dance?
I was initiated into dance by my mother Sudha Varde, who initiated me into folk dance. I must have been 5 when I started dancing with the cultural group of the socialist organisation, Rashtra Seva Dal. The program was called Maharashtra Darshan, where all the folk forms of Maharashtra in music and dance were showcased and some rich literary work was shown through movement. I remember I was a bird in one of the poems depicted through dance. As I grew up, I learnt all the folk dances of Maharashtra and performed them. This included lavni too, which is becoming quite a hit these days. I was trained by my mother and a colleague of hers, Sudha Thakkar (the older sister of Menaka Thakkar). After Maharashtra Darshan came Bharat Darshan, which showcased the brief history of India in the first half, and folk dances in the second half. I studied and performed many folk dances of India. I was trained by Ramesh Purav. This was followed by Shiv Darshan, the story of King Shivaji, through dance and music. I got training from Sudarshan Dheer. I was initiated into dance through the folk forms.

Is it hereditary or your own choice?
Well, I will say “hereditary” and “my choice”, as there cannot be an “or” between the two, because I think my mom was born to dance, and was gifted with immense inherent grace. I too am gifted with this innate grace and love of dance, which has come from her. Hence I will say hereditary. And then, at the same time I will say “my choice” too, because Odissi was my choice. As a child, my mom had tried her level best to get me to learn some classical dance style. She tried Bharatnatyam (with Raghavan Nair) and Kathak (with Sudarshan Dheer), but I didn’t take to either. I took up Odissi very late, after my post graduation.

Why did you select Odissi and not any other style?
As a kid, I did go for Bharatnatyam and Kathak classes, though, I didn’t take up to either. I remember the chakkars in kathak bothered me a lot. My eyesight isn’t good, and with the high numbered glasses, the chakkars made me feel extremely giddy. Bharatnatyam came right into my playtime, and hence I didn’t like it at all. My mom didn’t force nor coerce me. She just let me be. Folk dance was great fun. I did it during all the holidays. Summer as well as Diwali vacations, we would travel all over the country to perform different programs showcasing folk dance. It was on one of these tours that I saw Odissi being taught at Kala Vikas Kendra in Cuttack, Odisha. It was none other than Guru Kelucharan Mohapatra himself who was teaching. For me it was a fascinating sight. The grace and the fluidity was simply amazing. I hadn’t seen anything like that before. I was old enough then and a kid anymore. I was in the eleventh standard. I decided this is what I want to do.

There’s a thin line between a man showing grace through body and one tending to become effeminate.

What fascinates you the most in Odissi style?
The grace and fluidity is what fascinated me about Odissi before studying it. Now, after studying and getting into it wholly, there are many other things that fascinate me, specially its lilting music.I love Odissi the most, since I dance and teach it. But as an observer the one style I really love is kathakali. I am amazed by its detailed mudras, its intricate use of facial muscles and it’s costuming for each character. In fact I was very keen that my son Bunkim learn this style. He had started lessons with Gopal sir of Nalanda, but it didn’t work out.

When and why did you decide to become a professional classical dancer?
When I was in the eleventh grade I had seen Odissi. When I came back to Bombay from that tour, I tried to find out, but there was no Odissi teacher here. At that time I had not at all thought about it as a career or profession. I just wanted to learn it as a hobby, hence did not think of going all the way to Odisha. I also did not go to Odisha as my father was a college professor, and it would have been a financial burden on the family, spending that kind of money on a hobby. So I decided to start learning after I start earning. I did my post graduation in mathematics and statistics, took up a job as a maths lecturer in a college, and THEN got introduced to an Odissi teacher – Guru Shri Shankar Behera. He taught me for about two to two and a half years and then I graduated to Guru Kelucharan Mohapatra. I did a month long workshop with him in Mumbai, and after a few months at his home in Odisha. That one and a half month in Cuttack, at Guruji’s house changed my life’s perspective. That stay and experience made me think a lot. That was a turning point in my life when I decided to take up dance professionally.

Did you ever aspire to become an actress? Did your friend Smita Patil ever ask you about it?
No, never.. That’s the answer for both your questions.

Can you share with us your experience with your mentors in Odissi?
My mentors in Odissi – first and foremost my mother, then guru Shankar Behera, guru Kelucharan Mohapatra and his wife Guruma, Sanjukta Panigrahi and her husband Raghunath Panigrahi (sanjunani and bhaina for me) – all of them whole heartedly encouraged me and pushed me constantly. My mom was always there to look after my kid when my dance took priority before family. Masterji (Shankar Behera) would always try to be present for my performances in Mumbai and guide me where necessary. Guruji kindled the little flame inside me to a huge wonderful bright warm fire,, touched my spirit and opened my mind and pushed me to my limits. Sanjunani and Bhaina, both encouraged me a lot in their own way. They were at their pinnacle when i first met them at guruji’s house. Such stalwarts need not have paid any attention to this small fry who had just come to Odisha. But that first meeting with them was very warm. And later I graduated to having a revered friendship with Sanjunani and much later had Raghubhaina compose music for one of my dance productions.

Is it difficult to teach males, the graceful dance of Odissi?
I don’t think so. While teaching and while imparting the grace and fluidity, I have to be careful in not letting my boys become effeminate. There’s a thin line between a man showing grace and fluidity through his body and a man tending toward becoming effeminate. Rather than it being difficult for me to teach, i think it is difficult for them to execute, if not made aware of that thin line, the limit.

When did you establish Smitalay and your experience as a teacher?
I started Smitalay in 1989. My experience as a teacher has been amazing,very satisfying, fulfilling and humbling. I have had students from all walks of life, from different strata of society and varying ages. While teaching, i myself have got a few life lessons….i.e. how to deal with and mould the upper class students when say we perform in a bhangi wada (sweeper’s colony) or vice versa with the lower class students when we perform for a corporate function. Maintaining harmony in the class itself is quite a challenge. I started Smitalay as the dance wing of Sane Guruji Arogya Mandir, a socio-cultural educational trust mainly for the down trodden. It was built amidst the slums of Santacruz. So my initial students were children of maid servants and/or peons and sweepers. Gradually middle class and upper class students streamed in.

Which role is most important -daughter, wife, mother, dancer or teacher. Why?
I absolutely do not think that any role is more important than the other. Each role has its own space and place and is equally important. Will you ask this question to a man- husband, father or manager/CEO/doctor/engineer or to a non dancer woman? I love all my roles equally. Depending on the situation, I go overboard in some of the roles.

How do you select themes for choreography?
Something triggers inside me and I select a theme. Or someone suggests something and I select a theme. Or I just want to do something so I select a theme. There are various reasons. I was asked to present the logo of the Math Olympiad through dance.Their logo was a Maths problem. For me it was bringing my current and ex flames together- Dance and Maths which seemed very exciting. I did that one Maths problem and got a standing ovation. I procured and went through the full mathematical treatise Leelavati. It was not difficult at all, since I was M.Sc. in Maths & Statistics. I selected a few problems and the ballet Leelavati happened. With the ballet Narmada, the trigger was Medha Patkar, her fight for the displaced tribals and fight against the construction of the dam. By the way, it’s called farm to jungle, not animal farm. The “farm to jungle” trigger was NCPA. They had a children’s festival and Smitalay was asked to present something. I have been always intrigued by bird and animal movements. As kids are fascinated by birds and animals,I decided to do a production on just birds and animals. My son helped me choose songs from Pete Seeger to Bob Dylan to Elvis to my own son Bunkim. It was a fantastic and invigorating experience for me as a choreographer and the children (6 to 18) who performed.

Any unusual experience as a performer or teacher?
As a teacher no, but as a performer yes, I will definitely say so, outside a church in old Goa. We had been called to perform traditional Odissi for a Christian crowd. The stage was built at almost the edge of a valley, bang in front of the entrance to the church, with the sky and sunset as the backdrop. I performed a Marathi item I composed/choreographed myself. It talks about the saint poet Chokhamela, from the lowest of low castes, an untouchable, who is not allowed to enter the Vitthal temple by the Brahmins. He is an ardent devotee and sings praises of the lord. While I was dancing this piece, I had Lord Jesus straight in front of my eyes, all the while. I am a non believer and don’t know if I should call myself an atheist.I do not pray, visit temples or have pictures of any god at home, But that day something uncanny happened.Something came through the eyes of Jesus and took over me completely. I wasn’t feeling my body. I felt it had melted to nothingness. I was overwhelmed. I was not ME.

Are you happy as a performer and your future aspirations?
I am absolutely happy and contended as a performer, but more so as a teacher. At the age of 63, it gives me much more pleasure to see my young students dancing rather than me performing.