The Ganga continues to influence art­is­tic expression. Kol­ka­ta Mayur Lalit Dance Aca­demy’s presentation, Snehamayee Ganga, at Rabindra Sadan extolled the river’s mythology, sacred aura and cultural significance through the Odissi repertoire by etching out a rich imagery of riverine moods and movements.

The recital commenced with a performance of Dur­ga Stuti by senior dancers. Harihara Panchakam by Debamitra Sengupta, an Odissi exponent and the director of the troupe, was superior given its elucidation of the dichotomy of Shankaracharya, an amalgamation of Shiva and Vishnu.

But it was Snehamayee Ganga, the central piece, that turned out to be a tour de force. The dancers, dres­sed in white and blue Odissi attires, essayed the riverine trajectory, from its origin in the Himalayas to its captivity by pollutants and, ultimately, its liberation through conservation. Sengupta’s expressive idioms and synchronous postures outshone the elaborate props and flattering stage lights.