Chhayanaut's journey towards a 'Home of Culture'
Chhayanaut now is by far the largest school of performing arts in the country where songs of Tagore and Nazrul, old Bangla songs, classical and folk songs, instrumental music and oriental dances are practised intensively through theoretical and practical classes. But unfortunately it is yet to realise its 'dream complex'.
The dream came partially true when the Government allotted them a piece of land at Dhanmondi in 1999 and they started the journey on May 15, 2002, where they are planning to house a full-fledged art centre including exhibition room, auditorium, library, rehearsal rooms, workshops, audio-visual centres etc. As this cannot be possible without the help of others, they had arranged a fund raising cultural programme on March 15 at the National Museum auditorium.
For all latest news, follow The Daily Star's Google News channel. Two eminent artistes, Mita Haq with Rabindra Sangeet and Sharmila Bandyopadhyay along with her troops with Manipuri dance presented a grand cultural evening.
Dr Sanjida Khatun, President of Chhayanaut marked the beginning of the programme by thanking all the contributors and praising the two famous artistes of the programme. Mita Haq, who has developed her own inimitable style with accurate pronunciation and has carved a niche in the field of Rabindra Sangeet said, 'Chhayanaut brings out the human quality from people and I would be proud to be part of its journey.' Then she started with a popular patriotic tune O Amar Desher Mati with her enriched and melodious voice. Among the other numbers Porobashi Chole Esho Ghore, Dhay Jeno Mor Shokol Bhalobasha, Akash Bhora Shurja Tara, Jagorone Jay Bibhabori, Amar Mon Manena, and especially her last rendition which was described as the artist's favourite, Dinanto Belay truly touched the heart of the listeners. Mita Haq's captivating voice with the intricate modulations, her controlled eloquence, and the lyrical grace made each performance not just memorable but truly magical.
To mark the essence of a perfect evening eminent Manipuri dancer Sharmila Bandyopadhyay, best known for her perfection in choreography; along with Sonya Rashid, Samina Hossain Prema, Warda Reehab and the students of Chhayanaut came to perform the exquisite items of ritualistic but recreational Manipuri dance.
The Mridanga Badon was the first item which was performed in groups accompanied by instruments like the Mandira and Pung (Drum). This is often played during Kirtana, and was incorporated with the dance. The ancient dance of the Maibi Priestesses presented next as a group dance with gorgeous costumes and gentle, swaying petal-soft movements. The two forms of Manipuri dances-Lasya characterized by gliding and soft movements or Tandava being more vigorous and forceful were also featured in the different items where the dancers performed various steps and weave patterns, involving various choreographic compositions.
Gossamer veils, cylindrical mirrored skirts and ornaments dazzled the audiences with their colourful costumes which created a dream-like effect. Prabandha Nritya and Radha Nartan exemplified the Lasya aspect while Krishna Nartan was the example of Tandava form. In their last attraction where they depicted the spring celebration and a dignified grace was to be found in every aspect that made the recital an absorbing and exhilarating experience.
Patrons should come forward to help this institution for making their voyage for a 'home of culture' smooth and easy.