Mythical journey

Lucknow-based Archana Bhargava and her troupe presented an evening of music and dance inspired by the Krishnaleela tradition of Mathura region at the Purbashree auditorium of EZCC (23 March). Among the many musical forms emanating from the devotional heartland, Bhargava chose a number of Rasiya songs, all based on the indigenous narrative cycles including one contemporary take on the age-old theme where Radha is bugged by Krishna on a motorcar. True to the tradition the elaborate and colourful presentation began with the marriage of Rama and Sita and culminated in the joyous Holi celebrations. The robust raw appeal of Bhargava’s contralto was favourably supplemented by the female dancers enacting the mythical journey.

Anshuman Bhowmick

Neat gestures

Supradipta Datta, presented by Padatik Dance Centre at their Little Theatre on February 18, showcased the usual Odissi repertoire. A disciple of Odissi exponent Aloka Kanungo, the artiste began with mangalacharan, an invocatory number of traditional recital. Her bold footwork and neat hand gestures were praiseworthy. It was followed by pallavi, a pure dance number that also tests a dancer’s calibre. Based on raag Mohna, Datta with her stiff and almost static presentation could not bring out the verve and rhythm of this wonderful choreography of Kelucharan Mahapatra. She could not utilise the whole stage, which is important for a solo performance.

Sharmila BasuThakur

Portrait of a woman

Dhrubatara organised a cultural programme that comprised a bouquet of music, dance and recitation at Rabindra Sadan on March 22. The main attraction of the evening was Tumi Nari, a dance-drama choreographed by Sukanta Chowdhury. Different shades and hues of a woman, her inner strength, stamina and her various roles were aptly sketched by the choreographer through narration and recitation ranging from Rabindra Nath Tagore to Shakti Chattopadhyay, Mallika Sengupta, Krishna Basu and others. The well-modulated expressions of Ishita Das Adhikary and Amitabha Roychowdhury captured the drama of the whole production. The dance sequence with the song bhalobasi bhalobasi was haphazard and mechanical. Application of popular film tunes, however, ruined the true spirit of the production.

Sharmila BasuThakur