The name, Pashchime Rabi, definitely ignites a spark, but this show was built on a much-used topic like Western influence on Rabindrasangeet. Connoisseurs of Rabindrasangeet are quite aware of facts like which tune became the inspiration for which Tagore creation. The credit for this particular programme goes to Shinjini Acharya, whose script was strong enough to present the beauty of the songs (both the originals and the inspired ones) before the audience in Rabindra Sadan. As a result, even well-known facts seemed new, when they came through the choreography of the team, Kalamandalam, led by Malabika Sen and Pedro S. Kundu.

The choreography gave a new dimension to the depiction of thought, while waltz, foxtrot and samba went hand in hand with our very own Bharatnatyam and Kuchipudi. The group started the programme with “Alo amar alo” — a gorgeous composition based on Bharatnatyam figures. This popular song was presented with some unconventional steps, which attracted the audience. “Ye banks and braes” is a Scottish song, the tune of which was modified and used in the Rabindrasangeet, “Phule phule dhole dhole”. Pedro and his partner, Ronie, beautifully brought out the jovial mood of the Scottish song with a blend of salsa composition.

They used the soft and smooth steps of this particular latin genre without giving unnecessary importance to critical body movements. Kalamandalam presented the inspired version of “Phule phule” that was enjoyable in its unusual Rabindrik figures. The Irish song, “Go where glory waits thee”, was the inspiration for the song from Mayar Khela, “Aha aji e Basante”. The pain of the protagonist, Pramada, was perfectly portrayed by Malabika, while Pedro and Ronie presented the original version with a latin touch.

Tagore used the English song, “Nancy Lee”, in one of his Valmiki Pratibha compositions, namely “Kali Kali”. “Nancy Lee” is a beautiful song of romance whereas “Kali Kali” expresses the aggression of the robbers and autocrats — Valmiki and his companions. Kalamandalam skilfully made the grandeur come through with bold steps. The salsa presentation of “Nancy Lee” was attractive for its uplifting and graceful footwork. The audience also got to enjoy the charm of the original Scottish song, “Auld Lang Syne” (which inspired Tagore to create his unforgettable song, “Purano sei diner katha”), through deft choreography.

Pashchime Rabi was an honest effort to remove the polarization between Indian and Western tunes, between Indian classical dance forms like Bharatnatyam and popular Latin American forms. The mixing of contemporary and classical movements made the performance unique. Often the performers used Bharatnatyam bols, which perfectly blended with the mood. Although the salsa compositions gave a freshness to the show, more variations of steps were required. The twists and turns, liftings as well as bendings were smooth and alluring. One wishes there were more of such steps. The costume, use of props (especially the umbrella, picture) and lights were interesting. The rendition of the Western and Tagore songs by Swagatalakshmi Dasgupta, Indrani Sen and Shinjini Acharya, with clarity of voice and perfect pronunciation, was praiseworthy.

Shinjini could also demand a special mention for creating another script, Mukulito Kishaloy, for a recent programme at Rabindra Sadan. It focused on the loneliness of the child Rabi, his imagination, sorrow, visits to Santiniketan and Dalhousie with his father, Debendranath Tagore. Through songs and narration, the poet’s early schooldays, his lamentation for his mother’s death, relationship with his beloved sister-in-law, entry into the field of literature with Bhanusingher Padabali at the tender age of 14 as well as other incidents and aspects of chhelebela were brought out. The dramatic narration by Soumitra Chattopadhyay and the arrangement of the songs made the whole programme compact and beautiful. Shinjini sang almost 14 songs, for instance, “Dure kothao”, “Bipulo taranga re”, “Gahan kusum”, “Sei to ami chai” and others, which touched the right chords with the audience.