Pushpak Dance Academy has a heartwarming record of bringing productions of different dance groups or academies together. On 1 July, a packed Rabindra Sadan witnessed another such example of bonhomie featuring four extraordinary items. Rasabharatam, scripted by Pokhraj Chakraborty, choreographed, designed, and directed by Kohinoor Sen Barat, very aesthetically dwelled on the ancient Indian concept of Navarasa, or nine sentiments that govern the life of humans. In this, the suffused lights for the retro look and background score, including dialogue and music, played a vital role. On stage, the performers, including Proloy Sarkar and Rakesh Biswas, did full justice to their assigned roles. Living up to their names, Kohinoor and Pokhraj added sheen in almost every aspect of a production.
Pranamami Gange offered intriguing parallels by comparing the journey of the river Ganga to the life of a woman in an interesting story. The Ganga flows through difficult terrains, drains the filth thrown on her, encounters numerous obstacles, but persists its course, much like the challenges women face from their childhood till death. Both embody a source of sustenance, providing nourishment and support to those around them. The concept and direction of renowned danseuse Jhinook Mukherjee Sinha were translated into action by members of South Kolkata Nrityangan’s performing troupe, supported by Urmila Bhaumik’s narration and Mrinmoy Sanyal’s music direction.
Next, Budgebudge Manjiri’s presentation of Chhinno patar tarani (a boat of torn leaf), an outcome of Tagore’s four famous short stories (Kshudhito Pashan, Samapti, Megh-o-Roudro, and Postmaster), reflected the human psyche. Everyone, including Dibyendu Chatterjee (script), Madhumita Basu and team (voiceover), and participating artistes led by Abir, Jhinook Mukherjee Sinha (dancers), and Dipanjan Bakshi (curator and director), did a commendable job.
Rani, an already famed production of Pushpak, covers the journey of two years (July 1943 to August 1945) that changed the lives of Indian women. Netaji Subhas Chandra Bose founded Jhansi ki Rani, a women’s regiment, a never-before step taken by any leader in the world. This is a tribute to that novel and necessary step by Netaji that paved the path of women for greater achievements in the future. Since the Academy’s director Alokparna Guha walks both in the arenas of dance and theatre, this brilliant production is also an exploration of dance within the periphery of theatre. Subhajyoti Guha (rhythm), Supriyo Dutta (vocals), Alokparna (voiceover), and her team of artistes portrayed the theme’s deep-rooted emotions through Aangik and Vaachik Abhinaya. Superbly aided by competent technicians, it touched hearts.
Immortality
‘Anantya’, an evening of classical music, organised by Divine Inspiration and supported by Pracheen Kaka Kendra, Bharatiya Vidya Bhavan, and ICCR, was staged at Satyajit Ray Auditorium (6-7 July 2024). The soulful vocal recital by Sandip Bhattacharya portraying Raga Megh was very appealing. The sur-filled long meends of a longish aochar appeared like the movement of rain-bearing clouds. The melodic patterns during the leisurely badhat with the lyrics ‘E barkha ritu aayi’, set to slow ektal, seemed to paint the total panorama of a rainy day before a long perch on upper tonic with a soft ri, followed by powerful aakar. The drut teental showcased his grip on technique but was punctuated by the well-timed emotional side of the raga. These aesthetic touches are this young maestro’s main weapons with which he is rising at a steady pace. The seasoned tabla of Apurba Mukherjee very intuitively handled the presentation. The closing kajari, Ghir aayi hai kari badariya, composed by the legendary Girija Devi, was as emotive. Anirban Chakraborty’s harmonium sounded more interesting at this stage.
Shiraz Ali Khan, a capricious teen only fifteen years ago, had all his fingers in different pies. It feels good to see his transformation as a serious Sarod player. Shiraz and Rupak Bhattacharya (tabla) displayed heartwarming solidarity with traditional values. He selected Hembihag, a raga invented by his great grandfather Baba Alauddin Khan, and delineated it in true Maihar style by taking the total canvas of the raga, presenting its essence within a few minutes in the lower and middle octave. The song began with interesting rhythmic phrases. Slowly Bols took entry, and bold statements were made before Jhala. The teental gatkari was studded with varied rhythmic patterns that inspired the tabla to offer equally complex replies and climaxed with a beautiful piece with élan. The following Kafi dhun, set to medium-paced sitarkhani, was served as a palatable dessert with traditional flavour and ended in fast teental.
Earlier the evening, he woke up with the famous Layavinyas of Mridangam Vidwan along with his illustrious team of musicians, including Somnath (ghatam), Rik (flute), Mandola Joy (self-invented shree-tar), Sohon (tabla), Saurav (taldharak), and Anand Jairaman (vocal and violin), who set the ball rolling with a Ganesh Stuti set to Vrindavani and Misrachapu that gave cue to the percussionists to begin with seven beats, then nine beats with a composition in Mohanam. The titillating tani built the crescendo before close.
Promising Gen-next
Shakuntala Park Chhaya Cultural Society presented a two-day soiree (12, 13 July) at Behala Blind School auditorium. It was blessed by a solo recital of tabla maestro Sujit Saha, the only veteran artist of this youth-orientated event. The second evening commenced with Raga Multani’s melodious delineation by Deblina Ray, a gifted young vocalist. Her dedication is reaping the fruits of success. Accompanied by Shubham Das (tabla), she closed with a sweet Pilu dadra. Another brilliant vocalist, Shubhanjan Chakraborty (Patiala Gharana), sang raga Ramdasi Malhar set to rare tala Pancham Sawari. His power-packed style showcased impressive command over melody and rhythm. Piyush Banerjee (tabla) was equally competent. Veteran harmonium player Debaprasad De accompanied both of these vocalists. In between flautist Anshuman Chakraborty and violinist Swarup Chatterjee staged a jugalbandi in raga Desh with Sangram Roy’s tabla. On the opening day, Kaushik Chatterjee sang Jaijaiwanti and Miyan Malhar with Krishnendu Paul’s tabla. Priyangi Mitra, supported by Rupak Mitra (tabla), sang dadra and kajri. With fervent practice, all these youngsters can do wonders.
Evolution of Bangla Gaan
A highly commendable effort was made by Dakshini Sangeet Sammilani focused on ‘Bangla Gaaner Bibartaner Dhara’, leaning on the helping hand of Alok Prasad Roychowdhury; and what an experience it turned out to be! The humid evening of 14th July was uncomfortable at Niranjan Sadan, but the erudite presenter’s deep, bold, melodious voice made each song so assertive, and the rich content of the narratives to string the songs in chronological order were so intriguing that one forgot everything else.
An expert in varied genres of Bangla Gaan, Alokbabu informed that the first classical-based Bangla Gaan was composed by Nidhubabu a hundred years before Tagore. Though he learnt Punjabi tappa from Shauri Miyan, he modified it to suit Bengali temperament. Tagorean tappa like Ami roopey tomay bholabo na is influenced by Nidhubabu’s Tomari tulona tumi pran. Alokbabu, aided by Dibyeñdu Banerjee (tabla) and Surojit Das (keyboard), sang both versions with soul-stirring expertise.
While referring to Raagpradhan, he reiterated, ‘A revolution to sing khayal in Bangla was vetoed by Delhi, citing the national integrity of culture. Those compositions are now sung as Raagpradhan.’ He invited Vidushi Mandira Lahiri to sing a few such Raagpradhan composed by her Guru, Sageetacharya Chinmay Lahiri, who re-established the ‘sanchari’ of a song. Mandira-di sang four compositions belonging to genres like khayal (Madhuwanti, Ramdasi Malhar, Purvi) and thumri (Majh Khamaj). According to Alokbabu, Tagore composed forty-seven songs in Purvi. To exemplify, he sang ‘Ashru nadir sudur pare’.
One could collect many such pieces of precious information while listening to Alokbabu (his disciples rendered a few songs as well), which covered the historical journey of Bangla Gaan from the 18th to the 21st century. Such interesting educational plus entertaining sessions are the call of the day. It is unfortunate that knowledgeable performers-orators like Alokbabu are counted among rare species!
The writer is a senior music critic