Dance Trance by Sandip Soparrkar

Mamta Raut was a renowned Odissi dancer known for her grace and dedication to preserving this classical dance form. Her impeccable style and devotion to Odissi earned her immense respect in the world of Indian classical dance. Following in her mother’s footsteps, Madhumita Raut has emerged as a celebrated Odissi dancer herself. Trained under her mother and other maestros, Madhumita combines tradition with innovation, bringing new dimensions to Odissi while staying true to its roots. Together, Mamta Raut and Madhumita Raut have made significant contributions to the promotion and evolution of this exquisite art form.

‘The Mamta Raut Dance Festival’ is a prestigious event dedicated to celebrating the legacy of Mamta Raut. This festival serves as a platform to honor her contributions to Indian classical dance and to promote the timeless elegance of Odissi. Organized by her daughter, Madhumita Raut, the festival showcases performances by renowned and emerging classical dancers from across India and beyond. Held annually, the event not only highlights the beauty of Odissi but also encourages dialogue and exchange between various classical dance forms. The festival is a tribute to the rich cultural heritage of India and a testament to the enduring influence of Mamta Raut’s artistic vision and dedication to the performing arts. It has become a beacon for preserving tradition while inspiring future generations of dancers.

The festival was held recently in the capital; post the festival I spoke to the very passionate Madhumita Raut about her emotions attached with this festivals, excerpts from the interview:

Please tell us about your dance training and background?

My dance training began at a very young age. My parents often tell me that I started training when I was just four years old, but my love for dance began much earlier. In fact, my father introduced me to Odia tribal dance steps when I was just two! My first formal debut, or Manch Pravesh, a solo performance lasting more than an hour, took place at the age of eight at the Delhi Jagannath Temple. Dance has always been an intrinsic part of my life, and my journey in this art form has been an extension of that deep connection to my roots.

When and why did you decide to start the festival?

My mother was my mentor, my guiding star, and my best friend. She was the driving force behind everything in our dance institute, and after her untimely passing, I felt a tremendous void in my life. The festival was born from the desire to keep her memory alive, to honor her work, and to continue what she had started. The Mamta Raut Dance Festival serves as a way for me to pay tribute to her and the significant contributions she made to Indian classical dance. I want this festival to be a living, breathing reminder of her spirit and the invaluable legacy she left behind.

Organizing a festival is a monumental task. How difficult is it, and how do you keep it going?

Organizing a festival of this scale is undoubtedly a Herculean task, and it is a constant struggle. Having lived in Europe for several years, where I taught and performed, I can tell you that even though the work is hard, the process has been relatively smooth for me, largely due to the support I receive from those around me. However, it is important to note that the government in India does not seem to have a solid cultural policy in place to support artists. As a result, many dancers are forced to fend for themselves. I wear multiple hats—I'm the Guru, the organizer, the administrator, and the PR representative all at once. I often find myself going around like a monk with a bowl, seeking sponsorships, just to make sure the festival can continue to be held year after year.

This year, you had many male dancers perform. Why did you choose to focus on promoting male dancers in an industry that is largely female-dominated?

This topic is very close to my heart, and I feel deeply emotional when discussing it. My father was one of the few male dancers in Odissi, and in those early days, it was incredibly difficult for men to sustain a career in this art form. There were fewer performance opportunities, and the remuneration was often meager. In order to support his family, my father had to abandon his professional dancing career and focus on teaching. Many of today’s leading Gurus and dancers were his disciples, and he had a lasting influence on the community. I’ve noticed that many talented male dancers are now relegated to teaching positions in schools, putting their own dancing aspirations on the backburner. I wanted to give these male dancers a platform to showcase their talent, and that’s why I made a conscious effort to include them in this year's festival.

What was special about this year’s festival?

What made this year’s festival particularly special was the inclusion of four incredibly talented male dancers—Santanu Chakraborty, Shekhar Suman Majhi, Srimant Mishra, and Utkarsh Shankar Mishra. Their performances in Odissi, Bharatanatyam, and Kathak left the audience spellbound. We also had mesmerizing performances by Marie Elangovan in Bharatanatyam and Chetna Wahengbamm in Manipuri. The festival was packed to capacity, and the energy in the air was electric. The audience was so engaged that they didn’t want to leave even after the performances ended. They stayed back to interact with the dancers and engage in deeper conversations about the art form. It was truly heart-warming to see that kind of enthusiasm.

What are your future plans for the festival?

I have been thinking about how to make the festival even more exciting and impactful in the future. One idea that has been on my mind is to give the festival a specific theme, like presenting only the Gita Govinda Ashtapadis, or focusing more on expressional pieces rather than just pure dance. After all, the concept of Rasa (emotion) is central to Indian classical dance, and it would be interesting to explore how different forms interpret it. The possibilities are endless, and I am eager to see how the festival continues to evolve in the coming years.