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Reaching out to communities through dance

In conversation with Sharmeen Husain

Culture Desk
As president of the Bangladesh Nrityashilpi Sangshtha in Chittagong, Sharmeen is constantly on the go. Sharmeen explains the organisation's agenda. “We aim to reach out to the various thanas in Chittagong district through workshops and interaction between established artistes and dancers of the communities. We also honour veteran dancers who have imparted their skills to the local artistes."
Sharmeen has cause to be upbeat about the dance scenario. As she says, the talented dancers of Chittagong, many trained in shastriya nrityakala, now all perform on a common platform. Among the major contributors to the development of the art is the Shilpakala Academy in Chittagong.
What does International Dance Day mean to her? Sharmeen is unequivocal on this score: “As we rejoice and celebrate this very special day, we must take time to ponder on how fortunate we are that we can call this day our very own. This is a great day for dancers across the spectrum - past, present and future. Dance is food for the soul and we must dedicate ourselves to this medium."
Over the years, she says, there have been many changes in the dance scenario in Bangladesh. Now creativity and promotion of the fine arts are the watchwords of these times.
In Sharmeen's reckoning, folk dance is best suited to the lifestyle of the masses. Simultaneously there is a move towards modem compositions in which the dancers celebrate nature and this is complemented by indigenous lyrics and music.
"Undoubtedly, the contemporary performing arts and fusion have taken a big stride," says Sharmeen. On a lyrical note, she adds, “One has to move with the beat: dance inspires and stimulates the body, mind and soul, helps dancers create and use their body language to convey the message to the audience.”
Not that it has been smooth sailing all the way for Sharmeen. Descnbing the task of organising dancers as tough but gratifying once accomplished, she goes on to say, “The crux of the problem lies in the fact that they are busy in their own spheres such as teaching in schools or they have their own institutions and a tight schedule. Due to constraints of time, they seldom respond quickly to our call. To mobilise dancers for any particular event is a Herculean task. In such a scenario, we need to cajole them and mellow the competitive spirit so that they can spend quality time ^ShtW N.Kya^lp, Sangstha has been able to stage quality dance performances and forges ahead in achieving its mission.
Sharmeen lives and breathes dance. Learning Bharatnatyam at the tender age of four at the Kalalaya Institute in Colombo, Sri Lanka she went on to do her schooling in India, where she had opportunities to develop her dancing skills. This entailed further instructions from Nritya Guru Prohlad Das under the aegis of Nritya Bharati in Kolkata.
The early environment was conducive to learning dance. As she says, her "enlightened and culturally oriented" parents, Shaheed Sayeedul Hasan -- who the family lost in 1971 - and her mother Fareeda Hasan, encouraged her to blossom as a dancer. It helped of course that her parents were founder members of Chhayanat and had an association also with Oikotaan.
In Dhaka she learned, practiced and performed under the supervi-
sion of the late Altamash Ahmed, late Zcenat Jahan in Music College for several years and also in Sangeet Bitan under Shahida Altamash Kochi.
A feather in her cap is directing Lal Golaper Jonnyo, a dancedrama written by Abul Hasnat, which was performed by the first dance troupe and cultural delegation from Bangladesh to India after the Liberation War.
"What an uproar it created in the Calcutta Maidan!” says a nostalgic Sharmeen. Other members of the delegation were Sadya Afreen Mallick, Minu Billah (now Minu Haque). Lubna Mariam, Dalia Salauddin Hasan. Dr. Iqbal Ahmed, Saqera Ahmed. Asaduzzaman Noor, Dr Salauddin Ahmed and MahfuzAnarn.
Sharmeen's art has taken her to Iran, China and Europe on cultural delegations. She has also played leading roles in dance-dramas such as Birangana Sakina, Borsha Mongol, Koch o Debjani, Nirjhorer Shopno Bhongo, Hajar Tarer Beena, Bidrohi and many others.
Her repertoire includes impressive performances -- dancing to the tunes of Altaf Mahmud, the lyrics of Shahidullah Kaiser, the recitation of Professor Munier Chowdhury, the live orchestra of Samar Das, the tabla/pakhtuaj of Nikunja Pal and the patriotic songs of Sikander Abu Zafar.
The late Dawood Khan Majlish made a documentary on Nakhshi Kanthar Matth for an Expo to Japan in which Sharmeen played the lead role with G.A. Mannan.
For aspiring dancers, this seasoned danseuse has a word of advice: "Passion comes first; you have to love what you do, focus on your art and put in hard work. My message to all dancers is, dance your way into people's hearts -touch their souls with the language that you have mastered, shun jealousy, be tolerant and inspire others to be good human beings. To top it all, join the fraternity of artistes — and you will shine.”
Sharmeen is a firm believer in the necessity for social responsibility. “One has to be a good human
being to start with — give back to his/her own community, country and the world. If you are a top dancer, make sure that you are also a top community person," she concludes.