An Italian’s Indian ‘Odissi’: Dr Ileana Citaristi’s remarkable journey

Her heart beats and feet tap to the rhythms of Indian classical dance. When she joins her hands together on stage, she transforms into the epitome of grace. With over four decades of dedication to the art, Padma Shri Dr Ileana Citaristi is one of the most celebrated names in the world of Odissi and Chhau dance. Born in Italy, she merges her European roots with the beauty and depth of Indian classical arts with ease, along with contemporary choreographies that balance tradition and innovation. After her talk at the Hyderabad Literary Fest 2025, Dr Ileana shared her inspiring journey with CE.

Excerpts

What inspired you to pursue dance in the first place and why Odissi?

As a theatre actress in Italy, I was searching for a form of body language in theatre. When I saw a Kathakali performance, I realised that in India, there was a full-fledged grammar of body expressions which conveyed so much. Initially, I planned to learn a little bit of this grammar just to apply it to my theatre. That’s how it started. I came to Kerala to learn Kathakali for three months under Guru Krishnan Namboodiri. During that time, my guru mentioned Odissi.

In 1979, I returned to learn a bit of Odissi as well, thinking I’d split my time — six months for Kathakali and six for Odissi. But once I started learning Odissi under Guru Padma Vibhushan Kelucharan Mohapatra, I never went back. I didn’t continue with theatre or Kathakali; I became completely immersed in Odissi. Later, I also explored Mayurbhanj Chhau under Guru Hari Nayak. I became totally engrossed in what I was doing, and I stayed.

Classical dance is vast and not everyone can master it. When you started learning, what challenges did you face?

There were many challenges. It was a different culture with various languages, gestures, and meanings. To learn the dance, I had to understand the philosophy, literature, and music connected to it. It wasn’t just about learning movements — it was about acquiring knowledge of an entire culture. It was a journey of continuous learning that hasn’t ended.

What is your creative approach when starting a new dance production?

I always start with a theme that intrigues me. If there’s no existing text for it, I collaborate with a writer and musician to create the script and music. From there, I begin the choreography. For example, when I worked on themes like refugees or Mother Teresa, I drew from poems and writings. Sometimes, the process involves adapting prose into poetry and then into music before dance.

You also founded a dance school, Art Vision, in Bhubaneswar. What’s your teaching philosophy?

My guru was very precise and scientific in his teaching, and I carry that forward. I’ve documented all his choreographies (literal notes), and I stick to those details when teaching. I also ensure my students learn some of my guru’s compositions before introducing them to my own work. It’s about preserving the legacy while instilling discipline and depth.

What has dance taught you?

Dance has taught me the value of discipline and the importance of focusing on the process, not just the outcome. It’s about learning and growing every day.

Have you performed in Italy?

Yes, I have. It was new for the audience but I introduced Odissi in its purest form. It was hard to convince festivals to showcase something unfamiliar, but the response was encouraging.

You’ve written several books. Could you tell us about them?

One is The Making of a Guru: Kelucharan Mohapatra, His Life and Times, a biography of my Odissi guru. Traditional Martial Practices in Odisha explores the martial art traditions of the state. My autobiography is titled My Journey: A Tale of Two Births, and my latest book is Odissi and the Geeta Govinda, which delves into the connection between the classical dance form and Jayadeva’s epic poem.

Story by Vennapusala Ramya