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Regular-article-logo Sunday, 08 February 2026

Fusion dance

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The Telegraph Online Published 03.11.06, 12:00 AM
Kathak exponent Pandit Shyamal Maharaj and Nrityashree Gitali Basu Aich along with Gandharbolok Kala Kendra presented Om Krishna, a rare Kathak fusion ballet depicting the life of Lord Krishna. Staged at Madhusudan Mancha, this well choreographed dance recital deserves mention for its novel approach. Many a time Krishna’s life has been presented in Manipuri style, but depicting it through Kathak was a first. Mitali Bhatnagar as Yashoda, Sweety Basak and Sinthia Chowdhury as Radha and Krishna gave enticing performances. Their fluid body language spoke volumes. Playback singers — Indranil Sen, Indrani Sen, Anup Jalota and Antara Chowdhury — did justice to the show.
Saheli Mitra

Games people play

Page 4 is a Ram Gopal Varma spoof complete with sleaze, espionage, music, dance and gunfire. It depicts an underworld where cultural dons Giridharilal Gurguria (played by Phalguni Chattopadhyay) and Mohandas Dibakar Heptullah (played by Goutam Mukherjee) try to gain control over seminars, awards, cultural dos et al. Lok Krishti members Prasun Bhattacharya, Rumki Chattopadhyay, Monalisa, Partha Chattopadhyay and others put in a fine performance. The dialogue was replete with witty associations. Perfect light and music along with songs by Rupankar made for an entertaining evening. That is, if one was able to ignore the frustration of the artist and ruthlessness of the all-encompassing game that the play projects. Even the central character Monohar Middha (Bratya Basu) has no redeeming feature. He is a natural consequence of the hostile times.
Sebanti Sarkar

Cue from the past

An exhibition of paintings by five young painters, presented by Metropolitan Art Salon, had much that was promising and a few cliches that could have been done without. While Ganesh Dey’s oil paintings display the artist’s skill in handling metaphors, Dipak Ghosh uses mixed media to paint his subjects. In Pratiksha, a wife waits for her husband and interestingly, Pradip Majumdar’s women too wait for their lovers. Ranjit Adhikary’s coloured ink works on paper blend nature and woman, and Joydeb Bala’s works in acrylic seem to be frames of joy. However, their compositions are reflective of a vocabulary prevalent in the 1950’s and 60’s. A more contemporary visual idiom is desirable.
Sandip Sarkar

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