Read more below

By MUSIC: Sharmila Basu Thakur
  • Published 28.08.10

Rani presented Ki Ragini Baajaale, a rare harmony of Rabindrasangeet by Shreya Guhathakurta and the associated ragas by Indian classical exponent, Parthasarathi Deshikan at G.D. Birla Sabhagar on August 13. Although the attempt of combining Rabindrasangeet with the raga on which a particular song is based is not a novel one, immaculate singing by both the artists of the evening made the programme stand out. The most striking feature of the show was the contrast between the styles of singing of the two artists that added a special dimension to the presentation.

Deshikan was natural while Guhathakurta was more decorative. The show began with guru pranam slokam by Deshikan, followed by Raga Lalit. Deshikan’s spontaneous rendition merged with Guhathakurta’s Praner pran jagichhe tomari prane. She sang melodiously with charm and clarity. They chose Yaman, Shri, Pilu, Desh and many more ragas and sang them with adequate feeling and understanding. Deshikan’s exploration of Raga Behag based on Jnanprakash Ghosh’s beautiful bandish expressed his exquisite vocal skills while Shreya’s soft and eloquent Deep neebhe gechhe mamo was introspective. The accompanists were unobtrusive. Durbadal Chatterjee in violin added a melodious grace. The artists were supported by Siddhartha Bhattacharya on tabla, Anjan Basu on esraj, and Subrato Mukherjee on keyboard. Deshikan was accompanied on tabla by Sandeep Ghosh.

A classical dancer who approaches her dance cerebrally produces a different impact on the audience. She wants to explore her creativity without becoming a mere vehicle of a particular dance form. Ritushree Chowdhury attempted to transcend the limited format and tried to experiment in her latest production at Gyan Manch on August 20.

The evening, presented by Bengal Repertory, showcased Manan, an innovative form of choreography where the dancers created interrelated moments with their creative instinct and aesthetic awareness. The show was conceived and choreographed by Chowdhury, a talented Kathak dancer, who was assisted by Suman Saha. This abstract presentation proved the participants’ rigorous training. It was followed by Vasana — the design of desire which depicted the strength of mind and soul. Through rhythmic pattern, martial art and graceful movements, the number narrated a journey from earthy willingness to eternal enlightenment. Rooted in the Kathak style, this multidisciplinary dance-theatre tried to capture the power of dance as an important vocabulary.