The News of THE HINDU, Online edition of India's National Newspaper,Friday, May 30, 2008
Not EDITED
"Gaudiya dancers
Gaudiya Nritya, a dance recreation of what is purported to have existed in ancient Bengal, according to painstaking research into sculpture, literature and shastra of the region by Mahua Mukherjee, is essentially the creative imagination of one individual who has sought inspiration from the existing guru parampara traditions in Kushan, Bishahara, Chaou, Baul, Nachni, Kirtan, etc. Whatever reservations one may have about one person reviving a whole classical tradition which evolves through generations, there can be no hesitation in acknowledging that Mahua’s students Ruma Dey, Sudeshna Mazumdar, Satabdi Banerjee, and Subhasree Pal have been very diligently trained.
Starting with a Ganesh vandana, from a Manasa Mangal Kavya, set to ragas Dash Pahadi and Mishra Bilawal, the dancers waving chamaras held in one hand held a strong chauka type of plie with constant deflections of body shifting weight from one leg to another, dancing on a pot ending with a trikhandi pranam to God, guru, and audience. Full of the Chhau high kicks and legs in air were movements in Alap Chari in Bhopali. The zigzag scissored placing of feet while moving forward and the bhangis exuded a very graceful feel. The nritta interventions were punchy. Based on Devendra Narayan Mazumdar’s lyric and set to raga Desh was the Ambika stuti and the homage to the Devi. Mahajanapada Nritya in ragamalika based on the Gitagovind ashtapadi of the Dashavatar was a dramatic item, the ragamalika score starting with Malkauns ending with a Darbari Kanada for the signature tune. Shiva Mahima Chatuishrayam, a homage to Shiva as Nataraja and Veenadhara, involved in the high vaulting drama of Manmatha’s destruction and Daksha’s yagna, was based on verses from texts and several poets including Tagore. Enacted with an enthusiasm that nearly turned Shiva into a caricature, the interpretation needed restraint and internalised strength for subtlety of communication. Music, both designing and rendition, by Amitava Mukherjee aided the total effort.
Guru bhakti is all to the good. But it is time dancers did away with the never ending hosannas to the guru listing every detail of her achievements and that of the participants — all of which took too much time and could prove counterproductive, for the audience will judge by watching the dance."
