Experimental Virtues

‘Where there is righteousness there is victory (Yato Dharmah Tato Jayah)’ was the base of Maryada Purushottam, directed by well-known Orissi danseuse and Guru Chandrani Ghosh Dastidar. Her organization Kasba Surer Kheya, supported by the Ministry of Culture, staged this innovative bicolored narrative at Kolkata's Gyan Manch in the presence of eminent artistes belonging to different dance styles like Orissi, Kathak, Bharatnatyam et al.

Lord Rama is ingrained in every Indian’s psyche as the epitome of righteousness. To create interesting visuals of a few very familiar incidents of his strife-ridden life-story, Chandrani and her team collaborated with Kathak virtuoso Souvik Chakraborty and troupe. The latter depicted Rama, the seventh incarnation of Vishnu, with power-packed grace.

The story begins with a clutch of stotras choreographed as a group dance. The famous Raghukul reeti sada chali aayi (penned by saint poet Tulsidas) very aesthetically indicated the sad demise of King Dasharatha and Rama’s exile. It was followed by the Golden Deer episode wherein the deer’s Orissi-based lyrical movements sharply contrasted Lakshman’s upright stance of Kathak. So was Ravana’s during Sita-haran while Sita looked demure in charis of Orissi. Here only chenda, a powerful Carnatic percussion instrument, expressed the unethical intents of Ravana. In comparison Jatayu’s score in sitar and sarod was unobtrusive. But the next action and music of Setu-Bandhan injected euphoria.

A devotion-dipped climax arrived as a group of devotees dancing on a Bhajan in the evocative style of Kathak. This recalled the olden ‘kathakata’ (style of narration) with bhava and sankeertan. The ambience became more soothing when Chandra, Souvik and their team interpreted Raam ka gungaan kariye blending their respective styles with quiet devotional fervor. The very energetic chakkars by a group of six Kathak dancers chanting ‘Jai Shriram’ along with the lyrical floral offerings by Orissi team scripted the finale.

Earlier Kumkum Mohanty inaugurated the event with an enlightening speech that revealed that there was no documentation of Orissi’s root or style. She took it up as her mission and a nomenclature was readied describing sixty-six poses of head, face, hands, torso and legs and the uniqueness of Orissi music that has neither straight nor thickly twisted gait. It stands out for its wave-like movements complimenting the dance form.

Kasba Surer Kheya warmly felicitated the erudite veteran Orissi Guru along with all the dignitaries who witnessed this innovative joint venture, augmenting camaraderie among dance exponents of varied styles.

Reverberating Kotali Gharana

Apart from the age-old Vishnupur, the Kotali Gharana is a relatively modern vocal tradition in Hindustani classical music that developed in Bengal. It traces its origin in Kotalipara and its founder is the legendary vocalist Tarapada Chakraborty who could truthfully portray all the styles of his renowned contemporaries with impeccable clarity. Gradually he developed a style of his own by imbibing the unique features of diverse gharanas like Kirana’s focus on peaceful, emotive sur, Gwalior’s love for its rich compositions, Patiala’s passionate skill-show etc. His worthy son-disciple Manas Chakraborty further blended all to give it a smooth texture and separate identity. Unfortunately, both these Bengal-based gharanas are rarely heard. Thanks to Sandipan Samajpati and Ruchira Panda, disciples of the inventive performer and Guru Manas Chakraborty, Kotali Gharana carved a niche.

Recently Chakraborty’s younger disciple Pradip Banerjee gave a good account of his style in front of initiated listeners in a sit-in at Prerna Centre for Performing Arts that aims at Sambandh by ‘Bestowing Inspiration’ to the deserving performers. The event, also featuring song and dance items, was curated by renowned artistes like Ujjwal Bharati, Luna Poddar, Jayanta Banerjee and Dinesh Poddar.

Flanked by tabla virtuoso Debanjan Mukherjee and harmonium expert Debashish Karmakar, vocalist Pradip Banerjee’s pristine delineation of raga Megh was the highlight of the evening. Blessed with a melodious, deep voice he began with a brief aochar and went on to elaborate this powerful Monsoon melody with the help of the lyrics of the famous slow Jhap tal bandish Garaje ghata ghan. His pensive mood displayed an eye for symmetry. The taan-studded bandish in medium-fast Teen tal (Pawan chalat) was exhilarating.

One was happy to note that this versatile performer owns Chinsurah Lalit Pancham Academy of Classical Music and imparts training in experimental music adhering to pure classical music. With one such Bangla Raag Pradhan composition he closed his recital in style.