KOCHI: Sharing a slice of the Bengali culture and folk music, artists from Visva Bharati University of West Bengal recently mesmerised music lovers with Riturang, a celebration of the soulful songs of love and devotion composed by Rabindranath Tagore at Kalikotta Palace in Tripunithura.
The programme was organised by Poornathrayeesa Sangeetha Sabha as a tribute to Carnatic musician Neyyatinkara Vasudevan. Soul-stirring rendition of Rabindra Sangeet and Nritya by Visva Bharati teachers gave an opportunity for music enthusiasts to get a glimpse of Bengali folk culture and the aesthetics of Rabindra Sangeet celebrating seasons and nature.
Visva Bharati vocalists and teachers Sandeep Sen and Tarashankar Das, tabla guru Asit Ghosh, Kathakali exponent and Rabindra Nritya artist Chiranjib Pal, vocalist Maitreyee Mukherjee and dancer Krishna Chakraborthy showcased as many as 24 compositions of Tagore, casting a musical spell that conveyed transcendental love and spirituality propagated by the Bard of Bengal.
The Santiniketan prayer Agumer Poroshmoni (Purify my life with the purging torch of fire), and other songs left the audience in raptures, transporting many to a blissful space. Some of the popular compositions included Fhagun Haway Haway (I give away to your wind-flow my soul, carefree and untamed), Tai Tomar Ananda Amar (Thus it is that thy joy in me is so full), Nayan Tomare Pay Na (My eyes fail to find you),
Badal Diner Pratham (You have gifted me the first blossom), and Amar Bichar Tumi karo (Judge me O’ Lord with your own hands).
“Tagore’s music is universal and transcends borders,” Sandeep told TNIE.
“For him, dance and music were the mediums for worship, and they had to be aesthetically pleasing. He travelled extensively and had the opportunity to learn and understand classical music and dance within India and abroad. During his visit to England, he learned western music, which also greatly influenced him. He imbibed the essence of Hindustani, Cranatic and western music to nourish Rabindra Sangeet.
“Tagore adapted many aspects of Indian classical dance styles such as Kathakali and Manipuri. The dances he saw in Java, Bali, Thailand, China, Burma, and Sri Lanka helped him to make adaptations that made Rabindra Nritya more expressive.”
Tarasankar chipped in that Tagore was “like a magnet”. “He has assimilated the charm of various classical and folk dance forms into Rabindra Nritya. We have performed across the world including the US, Europe and Australia,” he added.
“Wherever we perform, the audiences are able to connect with the culture and emotions. That makes Rabindra Sangeet eternal. The North American Bengali Cultural Association organises Rabindra Sangeet concerts every year, and people from across the globe attend the programme.”
The artists said that the tensions over illegal immigration and atrocities against minorities in Bangladesh have not affected the cultural unity of the Bengalis as they venerate Tagore and are proud about the rich Bengali culture celebrated by him.
“The national anthem of Bangladesh Amar Sonar Bangla was written by Tagore, and the song celebrates the heritage of Bangladesh. The recent incidents in Bangladesh are political, and they will not strain our relationship. Tagore’s music is universal and will continue as the binding force uniting the people of West Bengal and Bangladesh,” Tarasankar added.
The artists said the trip to Kerala was just a prelude, and that they were keen to conduct programmes across the state. “Bengal has a cultural heritage akin to Kerala and we share strong bonds,” said Sandeep.
“Tagore has used lessons from Kathakali for Rabindra Nritya and we have many students from Viswa Bharati pursuing courses at Kerala Kalamandalam.”