Gaudiya Nritya: Revival of a missing link

Mahua's disciples performing at the Shishu Academy

Mukherjee formulated a theory and style of Gaudiya Nritya, based on the elements of classical dance, from shastra (text), sculpture, gurushisya parampara (teaching tradition), folk tradition and historical evidence. And thus the rebirth of the Bengal's foremost classical dance form has come into existence.

Gaudiya Nritya derives from the manifold expressions of dance, drama, painting and all other fine-art forms and like other classical dances it has the root in the folk culture of the region. To introduce this lost heritage to people of Bangladesh, Nrityanchal- a dance school, had arranged a 10-day workshop on Gaudiya Nritya with the participation of 150 students from all over Bangladesh. Mahua Mukherjee , an exponent of this style conducted the workshop. And the dance evening titled Gaudiya Nritya Shondhya, at Bangladesh Shishu Academy organised by Nrityanchal was the outcome of it.

The first part was the performance by the young disciples, where splendid display of various Mudras such as Anga Sadhana, Bhramari, Hasta Sanchalan, Sthanak, Hastak, Nrityanga, Abarta and many others were presented. This part ended with traditional Pranama.

These were all called Nritto- a style that has no story and had only the various stances.

The second part of the programme depicted the Nritya style, which has different thoughts accompanying different mudras. Composition on Nazrul's popular Marching song: Chal Chal Chal by the Bangladeshi participants revealed the war scenes of ancient Bengal.

Mahua started with Ganesh Vandana with her son Ayan Mukherjee and disciple Debashish Sarakar. Her composition titled Natoraj on Tagore's song and her composition Ardhanarishwaar was dedicated to a god half man and half woman. The last attraction was the solo piece by Mahua , a distinct style where Lila Kirtan was depicted by presenting the tale of Putana Badh.

The music for Gaudiya Nritya is a blend of folk and classical tradition, put together by Mukherjee's husband, Amitava. He uses the lilting tunes of Bengali devotional songs, and instruments such as the srikhol (a percussion instrument), mridanga, kartal and murali, as prescribed in the scriptures and depicted in the ancient terracotta sculptures.

The stage décor was simple, but dignified; decorated with dancing figures mounted on the walls, which was a replica recalling a temple of Bishnupur.

At the end the chief guest of the programme eminent artist Mustafa Monowar, gave the certificates to the participants.