Given the current socio-political situation in India, where discussions on displacement, borders, and the search for belonging feel more urgent than ever, Songs of Migration, a performance by Debojyoti Mishra, was deeply relevant. Curated by the AMI Arts Festival at the Kolkata Centre for Creativity, Songs of Migration was an exploration of what we carry with us when we are forced to move and what remains in the soil we leave behind.
The evening began, quite appropriately, with “O alor pothojatri” as a tribute to Salil Chowdhury, marking his birth centennial. This was followed by “Ahoban shono ahoban”. Mishra’s direction highlighted how these songs — originally birthed from movements of struggle and collective hope — continue to serve as anthems for those navigating the uncertainties of identity in the modern world. The transition into folk music was seamless, beginning with “Phande poriya boga kande re”. By interpreting each song through the lens of migration, Mishra portrayed Boga as that person who is forced to pack his life in a suitcase and wander helplessly as well as each of us stuck in today’s frantic rat race. This thread of pain that connected the melodies became the evening’s recurring theme, suggesting the idea that the sorrow of a bird in a trap is indistinguishable from the sorrow of a person separated from his or her roots. “Barir kache Arshinagar”, fusing Indian folk-tunes with Western elements, was a sombre folk song paired with the violin. Despite the poor soundproofing and repeated disturbances from the other side of the floor, the musical transitions were seamless.
The evening also highlighted the Partition pathos, particularly in Bengal and Punjab, which experienced the horrors of migration in particular. “Phir wahi raste” from the film, Ramchand Pakistani, reflected on grief underlined by hope while the harmony of “Bella Ciao” was a reminder that the passion for justice remains undiminished even in the face of displacement. Soumyajyoti Ghosh on the flute was the evening’s revelation.