Odissi on High, the latest of Ramli Ibrahim's concepts, presented by Malaysia's Sutra Foundation at Kuala Lumpur's Experimental Theatre, Universiti Malaya, had audiences exclaiming over the verve and vivacity and excellence of the presentation. But one was more taken up with the manner in which Odissi as an art form has acquired such a strong permanent presence in a region outside of Odisha or even India. Even more mind boggling was the fact of the same ticketed programme presented over four evenings consecutively, attracting good audiences every evening. Try as one would, the comparison with India just could not be wished away, and I was unable to erase the image of our spoilt public wanting invitations, with even friends and so called well wishers having to be cajoled into attending dance events.
How does Ramli Ibrahim, settled in an area which cannot provide him with the allied disciplines needed for Odissi like mardal percussion, Odissi music, Odiya poetry for thematic material, present a block buster festival every year? From where does he get the resources?
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