Night three featured Odissi artist Bijayini Satpathy performing “Abhipsaa—a seeking,” a work that had its world premiere at Duke Performances in 2021 and its New York premiere in 2023 reviewed here. Satpathy displayed her creative intelligence and penchant for surprise adding a new section for this performance called “Ahrini.” The new addition followed nicely after the opening dance as both sections depict narratives of young girls ruminating on a future love life. In “Ahrini,” the character weighs out the qualities she might want in a lover comparing the playful god Krishna to the fearsome god Shiva. The choice became obvious as Satpathy danced about in rapturous delight, her arms held in the flute-playing gesture associated with Krishna. Satpathy’s large, expressive eyes followed her every hand gesture relaying the lighthearted ease the young girl imagines for herself with Krishna. In an instant, Satpathy transitioned to being in the company of Shiva with his overwhelming power. First, she embodied the formidable energy of this god of destruction and creation dancing through poses associated with Shiva’s physical bearing. This included a mimed depiction of his long, matted dreadlocks and his all-seeing third eye. Then Satpathy pivoted to portray how the girl imagines she would feel in his overpowering presence—conveyed with her transparent facial expression and a meek bow. The section concluded with the girl’s choice finalized as Satpathy’s face disclosed a dreamy air while her body settled into a luxuriant Odissi pose of the flute-playing god.

The clarity and nuance with which Satpathy renders a character is unmatched. In “Virahi—in longing” a dance in which Krishna aches for his lover Radha, Satpathy dances Krishna’s aspiration, his memories, the present reality, and all his feelings along the way. In one sequence, Satpathy clutched at the air as if hugging Radha, her face filled with bliss from those memories.  Harsh reality intruded abruptly when Satpathy’s arms—clasping at nothing—fell to the ground with a thud. No holding back, Satpathy dances her characters into vivid life, and brings everyone along for the dramatic ride. 

Dancing the Gods leaves the cultural landscape of New York City greatly enriched and indelibly changed for the better. A bow of gratitude goes to Rajika Puri for showing New York audiences what it means to “dance the gods” and introducing us to the sublime artists who do it.