In neat proportions

What was interesting about the Kathak presentation by Saswati Sen on February 26 (organised by Sangeet Ashram) was that it combined action and analysis. Conceived as a kind of lecture- demonstration, the programme balanced thought and visuals in neat proportions. Saswati began with a madhurashtakam stotram tuned and sung by Pandit Birju Maharajji. She demonstrated how almost any concept acquired a shape, a form, in the symbol of dance. Saswati showed unparalleled command over the form and depth of experience combined. The presentation included an improvisation in raga Parameshvari, explorations in the 11 matra ashtamangal tala and an abhinaya piece Shyam tori murli.

Vandana Alase Hazra

Springtime gaiety

Dhiren Basu is the ‘Last of the Mohicans’ when it comes to Nazrulgeeti. As Anwesha presented a pot-pourri of Bengali songs at Birla Academy (March 2), Basu moulded his lyrical tenor in a painterly manner to enrich the world of Indo-Persian imagery in Jedin labo biday, the lilting ghazal in Pilu. In another inspiring recital, Suprakash Chaki poured decades of sensitivity into his Edin amaar chiradin thakbe na jani, a challenging composition. Among others, both Tanya Das and Swapan Ghosh stuck to Tagore’s vibrant spring numbers; Indrani Dutta invoked the grandeur of springtime gaiety through Dwijendra Lal Roy’s compositions. Rookie Srabani Bhattacharya stole the show with the self-composed Phul phote olider bhalo lage.

Anshuman Bhowmick

Dearth of experiment

Parama, an exhibition held regularly in recent years at Galerie la Mere, is known to offer delectable selections of the finest works of women artists of Calcutta. Although gender-based, the creative specimens showcased are not necessarily works of those who deserve to find a niche only by virtue of their being women. Arunima Choudhury, Bageshree Datta, Geeta Maiti, Nabaneeta Banerjee, Paula Sengupta and Shakila have already proved their mettle in their areas of specialisation. Other younger wielders of the brush, such as Sheila Kapoor, Swati Mukherjee and Chandrima Roy show enough promise to call for attention. In the current exposition, one does not see much of an experimental thrust. Yet one must stop before the simple landscape by Suktisubhra Pradhan, if only for the purity of the light flooding the pictorial space. Also significant is the deft portrayal of a feminine face by Rupa Rajbongshi.

Samir Dasgupta