The fourth edition of the Treedhara Festival, held recently at Triveni Kala Sangam, unfolded as an evocative celebration of India’s classical dance heritage. Curated by Dr. Kavita Thakur and organised by Kalashree, the festival brought together tradition, artistry, and devotion in a thoughtfully crafted evening. Centred around the theme “Vande Mataram,” the programme wove together diverse classical forms—Kathak , Odissi, and Kuchip udi— each performance echoing a shared cultural spirit while retaining its distinctive vocabulary.
The evening featured a Kathak presentation by the Kalashree repertory, a Kuchipudi recital by students of Ayana Mukharjee, and an Odissi performance by the young and promising Srishti Debroy. Among these, Srishti Debroy’s recital emerged as a luminous highlight . Despite her young age, she commanded the stage with remarkable poise and assurance. Her dancing revealed clarity of line, balance of form, and a nuanced expressiveness that spoke of both discipline and sensitivity. Moving with ease between nritta (pure dance) and abhinaya (expressive storytelling), she demonstrated a mature grasp of the Odissi idiom. She opened with a Mangalacharan set to “Veena Vadini Var De,” invoking Goddess Saraswati with a sense of quiet devotion.
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Her movements were measured and meditative, establishing an atmosphere of reverence. This was followed by “Molli Malo Shyamaku Debi,” choreographed by the legendary Guru Kelucharan Mohapatra. In this piece, Srishti portrayed Radha with delicate emotional layering—her expressions capturing innocence, longing , devotion, and playful intimacy with striking naturalness. The Saveri Pallavi that followed highlighted her technical finesse. Her footwork was precise, her torso movements fluid, and her transitions seamless, reflecting a strong command over rhythm and structure.
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She concluded with Moksha , the culminating piece symbolising spiritual liberation. Graceful and unhurried, her performance here left the audience with a lingering sense of serenity. The evening was attended by eminent personalities including Madhavi Mudgal, Maitreyee Pahari, Chitra Sharma, Abhimanyu Lal, and Ravinder Mishra , all of whom appreciated the performances and particularly noted Srishti’s maturity and compelling stage presence. A disciple of her mother and guru Arunima Ghosh, Srishti has been immersed in Odissi since childhood.
Her journey has already been marked by recognitions such as the CCRT scholarship, alongside performances at several prestigious platforms. The Treedhara Festival stood as a meaningful confluence of established artistry and emerging promise. In Srishti D ebroy’s performance, one glimpsed not only the rigour of training but also the quiet blossoming of an artist—an encouraging sign for the future of Odissi dance.
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