Even though Rabindranath Tagore is most actively worshipped in Bengal and occupies a worldwide space especially in the world of poetry, the adoration and admiration for Kazi Nazrul Islam as a “Rebel Poet” (Bidrohi Kobi) with a strong humane spirit is no less.
Rising above caste, creed and religion, Nazrul pioneered in expressing strong radical ideas in his large body of poems, songs and essays that made him experience similar following and regard to share the pedestal with Tagore. But while works of the Bard are widely performed, those of Nazrul are not as frequent. He pioneered in writing Bangla ghazals, included Islam in the mainstream tradition of Bengali music and composed powerful patriotic songs, bhajans, Shyamasangeet and passionate love songs – the genre known as Nazrulgeeti. Though the songs are widely presented, choreographed versions of even the most popular ones are rare. Kalamandalam Kolkata under the choreographic guidance of Guru (Dr.) Thankamani Kutty, took up the challenge in paying homage to Kazi Nazrul Islam by sketching the life of the poet through narration and dance presentation set to popular songs of the poet.
Conceived and directed by Somnath G. Kutty, the programme embracing the idiom of Bharatanatyam received warm admiration when performed at Churulia, the birthplace of Nazrul Islam, near Asansol in the Bardhaman district of West Bengal.
Emotions played an important role for perhaps this was the first ever full-length presentation telling the story of the Rebel Poet.
The programme opened with a well-rehearsed choreographic version of the raga Tilang based Addha Qawali. “Anjali Laho more Sangeetey” (offering through music) immortalised by the stalwarts of Nazrulgeeti. Multimedia projections on the screen behind the stage supported the narration which were a chronological account of the major events of the poet’s personal life from his childhood till death, highlighting his literary achievements, his experience in the Indian Army, protest against the British Raj and days in the prison where he wrote some of his most powerful and meaningful poems that became the inspiration of the youth that preached revolution. An energetic performance in dance, song and style came through in Bhangar Gaan- “Karar Oi Lowho Kapat” from the collection Bhangar Gaan (songs of Destruction) and Kandari Hoshiyaar “Durgam giri kantar maru” from Sarbahara set to marching tunes. The rhythmic choreography and the visuals of the prison of Bhangar Gaan appealed but parts of Kandari Hoshiyaar like “Dulitechhey Tari, phulitechhey jal” (the boat is rocking, water rising) with strong symbolic underlying nuances could have been better captured than merely translating them into movements and inadequate expressions. The solo male number set to one of Nazrul’s most important and inspiring poem “Bidrohi” from Agnibina was a dampened rendition. The opening line ”Bolobir bolo unnato mamo shir” lacked the fiery passion and verve that the poem demands.
However, there were some sparkling numbers notably the lovely Khamaj/misra karpha based song of yearning “Uchatana mono gharey roina” passionately interpreted by the senior dancer Jhinuk Mukherjee, the Shyamasangeet “Smashaney Jagicchhey Shyama Ma” evocatively portrayed by Tania Dewanji and “Gother Rakhal” by Moumita Chatterjee. Shambaditya Das was convincing in the tender and the tragic exploration of raga ‘Chayanat’ ektaal based “Shunyo-e-bukey pakhi more” - a much loved number written after the poet lost his second son Bulbul. The folk-based “Ei Ranaga maatir pothey lo” was one of the best with lovely sways and colourful costumes and the ever popular “Brajogopi Kheley Holi” was entertaining. The programme concluded aptly with the intense Bhairabi bhajan “Khelichho a bishwaloye”.
The script by Subhadeep Chakravarty was informative but an important aspect of the poet’s tryst with films as writer, lyricists and music director and actor during 1934-38 has been unexplored. Costumes are accordingly simple. It was rewarding to watch some rare visuals and photographs in the projection like the copy of bi-weekly “Dhumketu” 0f 12th August 1922. A bit of reworking in the script and presentation would be welcome.
