The only noteworthy feature about Confluence: Benaras, Kolkata, Chattisgarh, an exhibition of paintings at Galerie Karma (April 15-30), was its singularly misleading title. One had expected to see art that has been inspired by, or is about, three different places. Instead, one was confronted by a medley of three distinctly unimpressive styles.

S. Pranam Singh’s ‘Glamour Series’ focussed on the sensual beauty of the female form. But the fleshy figures in bright paint were far from seductive. V. Nagdas’s ‘Unstoppable Influx of Unthinkable’ was surely inspired by the artist’s notion of a doomed, human fate. Grotesque, half-human men and women with misshapen bodies, distended bellies, and nailed hands and feet surround a Christ-like figure holding a missile and a giant bird in his hands in this work. Mercifully, Sudhangsu Bandyopadhyay’s works were occupied with more earthly things. ‘Rickshaw’ delighted with its watery formlessness and stood out from the other works, which were unyielding in their mediocrity.

Uddalak Mukherjee

Perfect fusion

Garia Ajanta Kala Sangam presented the Rukmini Devi Arundale Dance Festival at the Kala Mandir on April 18. Directed by Sarbani Ghosh Chatterjee, a dedicated Kuchipudi and Bharatnatyam dancer, the programme comprised an array of classical dance forms — Bharatnatyam, Kuchipudi, Kathak — as well as some innovative choreography based on these formats. The festival featured well-known artistes such as Ronyshambik Ghosh, Mitul Ghosh, Jaya Seal Ghosh, Ambali Praharaj and the students of Ashimbandhu Bhattacharya.

The evening commenced with ‘Guru Brahma Guru Bishnu’, an invocatory performance by Ghosh Chatterjee in the Kuchipudi style. This was characterized by a well-synchronized sawal-jawab between group dancers in Bharatnatyam and soloists in Kuchipudi. It was followed by ‘Bharatanjali’ — a piece composed in praise of Lord Nataraja — by Kirti Ramgopal. ‘Tandava’, another beautiful composition by Bikram Ghosh’s Rhythmscape, was aptly presented by Ambali. The most enjoyable performance of the evening was a group choreography by Jaya Seal Ghosh and other dancers. In this presentation, the bold, but difficult, steps of Kalaripayattu were delivered with precision by Kajal and Sadhana Hazra. Jaya Seal’s Ghosh’s elegant stage presence and lyrical movements impressed as well. Bikram Ghosh experimented with various percussion instruments to complement the choreography. ‘Romanza’, a romantic fusion between Kathak and Flamenco, was a spectacular attempt by Roni and Mitul. ‘Nabochhando’, based on nabataal, was performed by Bhattacharya’s students who displayed nimble footwork.

Sharmila BasuThakur