There is no phenomenon quite like the 2200 odd songs written by Rabindranath Tagore and their rendition be it as solos, in dance dramas or in chorus by stalwarts, exponents and innumerable artists. Yet to present them with a new dimension and appeal without sacrificing the sensibility and nuances of the poetry and style of the Bard needs deep understanding and ability to contain tradition in an individualistic way.
Tollygunge Club, Kolkata, presented the acclaimed Rabindra Sangeet singer Pramita Mallick and the members of her institution “Bhawanipur Baikali Association” together with four senior classical dancers from different disciplines in a programme to acquaint “Tagore the Voyager” to a capacity audience in its auditorium as a homage on to Gurudev on his 156th birth anniversary. The attempt, with chronological details of Tagore’s voyages in the West and the East during 1912-1934, spoke of the moods and situations that prompted him to compose these numbers. An assortment of 15 “Oceanic songs” selected out of 40 composed by Tagore during his voyages in different parts of the world, interspersed with dance and poetry was accompanied by their respective English translations by Professor Sugata Bose.
The bilingual presentation narrated by Monojit Dasgupta began with the wonderful chorus “Prano bhoriye trisha horiye” (“Fill my heart, quench my thirst...”) included in the “Puja section”, that was composed by the poet after seeing the ocean on landing in Glasgow on June 4, 1912. Six dancers, two each from Bharatanatyam, Kathak and Manipuri accompanied the number in their respective idioms. On arrival in Hampstead, London, on June 16, 1912, Tagore was stunned with the beauty of Nature there and composed the vibrant “Sundaro Botey Tobo Angadakhani Taraye Taraye Khochito” (from the play “Aroopratan”), presented by Bharatanatyam dancer Monojit Saha and Kathak dancer Sourav Roy following the English translation “beautiful is your bracelet”.
“Praney Khushir Tufaan Uthechhey” (A storm of joy has risen in my heart), was a Kathak duet—a result of spontaneity of expressions after a farewell dinner. The last song of this voyage to the West was a melodious passionate, “Noye Madhur Khela” (Puja) executed with ease by the Manipuri dancer Rintu. Interestingly, majority of the numbers chosen were from the Puja section and the solo “Bhubanjoda Asankhani” sung by Sounak Chatterjee, a talented and seasoned singer by now brought out the cerebral quality of the lyrics, supported by Monojit’s Bharatanatyam.
Love songs
The voyage to South America around the first half of 1924 saw Tagore composing the love song “Oh Unmindful”—“Aanmona, Aanmona” and Sourav’s Kathak abhinaya enhanced the appeal of the poem. It was a pleasure to hear Pramita Mallick in the delightful composition “Taar Haatey Chhilo Hasshir Phullerohaar” from the “Prem” section, the lyrics brought alive by Manipuri dancers Purbita and Rintu. A group Manipuri number “Chhutir Banshi Baajlo” (The Flute of Freedom sounds there) sung by Pramita was one of the most enjoyable item with scintillating costume and good dancing as was Purbita’s solo “Diner Belaye Banshi Tomar” (During the day you have played your flute) enriched by her mother Pramita’s singing. The number was composed in Budapest. Sounak brought out the flavour of Desh raga with a short aalap in “Ekada Ki Jaani” but Sourav did not impress. In Stuttgart Tagore’s expression of entreaty was evident in “Madhuro Tomar Sheshh Je Na Payi” (originally “Bhalobashar Shesh Je...)—the famous “O, Beloved You Are Endless” sung in the romantic vein.
The programme concluded with a very popular vibrant number “Kharobayu Boye Begey” (“Hey Ho”) written during a severe storm amidst a turbulent sea while Tagore was returning to Burma from the East. This piece was the best in terms of execution, costumes and team work even though the singing overpowered the dancing primarily due to the unavailability of adequate performance space for the dancers. Also,the lighting interfered with the colour of the dancers’ costumes as a result of which the movements lacked clarity of forms especially for those other than the Manipuri dancers.
