Stills from the album

Title: Nritye Sangeete Tomay Pronam by Nibedita Dey

Duration: 45 mins

Price: Rs 90

The 10-song debut album of Nibedita Dey, an exponent of Manipuri dance and Rabindra Nritya Natya, hits the right chord from the opening credit itself with Ami chini go chini background score.

The Brahmaputra bank, where the album has been shot, reminds the viewers of the idyllic charm that the bard often propagated in his poetry as well as his theory of education in the lap of nature. The artiste’s effort on this front is truly commendable.

The opening song of the album, Agnibina bajao tumi, sets the tone for the joyous celebration of seasons. Sung by Shiva Prasad Sanyal and Sampa Basak, it captivates the soul. However, the male dancer’s expressions leave a lot to be desired. Expressions are key to any Rabindra Nritya, as it is just not the dancing skills but one’s acting abilities that can truly make the difference in conveying the bard’s perspective to the audience. The artistes need to be extremely aware of the right nuances and facial expressions while performing on Rabindra Sangeet.

Dey’s solo act in Chokkhe amar trishna captures the essence of longing for days beyond summer, when the soul is as parched as the land. Gram chhara oi ranga matir poth has been well shot but lacks the spontaneity that is an integral part of the song, which preaches the bliss of forgetfulness and simplicity.

In Kusume kusume charanachinho, the dancers could have made use of the space a little bit more generously. The setting once again was well chosen and deserves mention. Singers Sampa and Malabika Basak have done justice to the song.

The USP of the album, however, lies in what comes next. A sheer stroke of genius, the fusion of Mono mor megher songi and Oi je jhorer meghe is a treat to the senses. Nicely choreographed and effectively shot, the sequence towers over the other performances in the album. The artistes in Mono mor complement each other.

The child artistes in Ami poth bhola ek pothik eshechi are easy on the eyes and make the performance an enjoyable one. Pran chay chokkhu na chay and Shraboner gogoner remain true to their spirit.

Dey shows real mastery of the dance form in Tomar khola hawa. This solo act of hers encapsulates the sincerity and hard work that she has put in to bring out her maiden album. The dancer’s elegance and poise adds to the subtlety of her nimble footwork.

Alakesh Chakraborty (tabla) and Nataraj Bhattacharjee (guitar) never deviate from the true spirit of Rabindra Sangeet. The digital mixing and editing are praiseworthy.

From choreography to choice of songs and costume designing, Nritye Sangeete Tomay Pronam showcases Rabindra Nritya in its very archetypal form, away from the increasing classical lean that is seen now.