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Of devotion, grace and subtlety

Manipuri dance performance by Bimbavati Devi |

Karim Waheed
Apparently, in 1919 Rabindranath Tagore was so impressed after seeing a dance composition, the Goshtha Leela in Sylhet (Bangladesh) that he introduced Manipuri dance lessons in Shantiniketan. Tagore further demonstrated his admiration for Manipuri dance by incorporating the style in most of his dance-dramas.
Considered one of the six classical dance forms, Manipuri is defined by spirituality, grace and subtlety. On August 12, the Dhaka audience had an opportunity to
experience this delicate, lyrical dance form at Osmani Memorial Hall. The occasion was 62nd Independence Day of India and the highlight was performance by Manipuri dance exponent Bimbavati Devi.
The programme was jointly organised by the High Commission of India, Dhaka and Indian Council for Cultural Relations.
The Indian High Commissioner Pinak Ranjan Chakravarty thanked the Ministry of Cultural Affairs, Bangladesh and Shilpakala Academy for their support and invited the chief guest, noted cultural personality Asaduzzaman Noor to the stage.
Noor apologised to the distinguished elderly in the audience and said, "I'm not an authority on dance but like other art forms, I enjoy it" Recalling the contribution of India during the Liberation War, Noor addressed cultural exchange between Bangladesh and its closest neighbour. He said, "Commercially viable performers from overseas seem to get permission to stage shows here without much effort but when it comes to artistes of a different kind - the kind who have something substantial to offer, to teach us --have to go through 'red tape'. It is an alarming trend; I'd like to request the authorities
tolookintoit.”
Bimbavati Devi started with a composition titled Shiva Stuti. As the title suggests, the composition was an invocation to Lord Shiva, whose origins are unknown. His glare illuminates the world. In order to save humankind, he swallowed the poison that was churned out along with the elixir the gods took hold of; and thus he became "Neelkantha" (the one whose gullet is blue).
Manipuri dancers do not wear ghungroo (ankle bells) to emphasise the beats tapped out by the feet, in contrast with other Indian classical dance forms. The dancers' feet never strike the ground hard either. Bimbavati made rounded movements, avoiding jerks or sudden pulls/thrusts. Even during vigorous steps, the artiste touched the ground with the front part of her feet. Her movements and facial expression aimed at devotion. The dancer was accompanied by pung or Manipuri mridang (double-headed drum), setar, harmonium and vocals.
Bimbavati's superior dance skills have much to do with her lineage. Daughter of renowned Manipuri dancers Guru Bipin Singh and Kalavati Devi, Bimbavati was introduced to the world of dance at a tender age. Apart from dancing, she also underwent training in playing pung and Thang Ta (Manipuri martial art). At present, she is a performing artiste at Manipuri Nartanalaya, one of the pioneering institutions of Mdhipuri dance in India, founded by her parents and the Jhaveri sisters.
Bimbavati conducted a workshop in Bangladesh. Her senior students --Sudeshna Swayamprabha, Fahmida Siddiqua, Samina Hossain Prema, Sanjana Haque, Sushmita Dey and Subroto Das -performed in a composition tided Gope Ras (dance and music composed by Guru Bipin Singh and Kalavati Devi). The composition is an excerpt from Goshtha Leela, a traditional dance-drama of Manipur. The composition featured Krishna and his friends’ joyous dance -- their staffs in hands, with which they tend the cattle.
Noted Bangladeshi Manipuri dancer Tamanna Rahman enacted a heartbroken, disappointed Radha waiting in vain for a rendezvous with her beloved Krishna in the composition,jMnnfni ‘Radha (dance and mfisic composed'by Guru Bipin Singh and Kalavati Devi).
In Mridang Vadan (composed by Guru Bipin Singh), dancers — Sharmila Banerjee, Sudeshna Swayamprabha, Warda Rihab, S. Tomba Singh and Nilomoni Singh along with Bimbavati Devi demonstrated their skills in pungplaying.
Other compositions performed at the programme were Radha Roop Vaman (a solo by Sharmila Banerjee), Pung Cholom (dual performance by S. Tomba Singh and Nilomoni Sinha) and Bajikar Khel (group performance by Sudeshna Swayamprabha, Fahmida Siddiqua, Samina Hossain Prema, Sanjana Haque, Sushmita Dey and Subroto Das).
The programme wrapped up with a solo performance, Matrika, by Bimbavati Devi. Concept and choreography by Bimbavati, the composition featured a passionate depiction of motherland based on the writings of Rabindranath Tagore, Bankim Chandra Chattopadhyay and Rishi Aurobindo. The motherland, despite being torn apart by the self-centred acts of her children, nurtures us and provides shelter from all adversities. Through impassioned expressions and movements, the dancer urged the mother to provide us strength so that we can restore her former glory on the world stage.
The evening ended on a good note but with a bit of discontent. Many in the audience wished there was more of Bimbavati's performance, as the title of the programme was "Manipuri Dance Evening by Bimbavati Devi".