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Tagore's European experience

Nrityanandan stages "Arup Tomar Bani"

Fahmim Ferdous
Rabindranath Tagore's vast volume of work mirrors a myriad of phases of his life; from his zamindar days in the pristine beauty of lorasanko and Shantiniketan to his reflections on the social and political scenario of the region. His experiences of the travels in Europe and the thoughts generated at various times there also consist of a substantial mass of his work.
His personal reflections during his travels through Europe, also constitute a substantial part of his work.
Nritya Nandan, a prominent school of culture in the country, has always nurtured and represented various aspects of Tagore's works. "Arup Tomar Bani -- Tagore in Europe" was another such endeavour, presenting Tagore's works during his visits to the West in poetry, music and dance. The programme was held at the main auditorium of Chhayanaut on Saturday evening.
The event opened with a recitation of "Tumi Kemon Kore Gaan Koro Hey Guni’ and its English translation by elocutionists Uday Shankar Das and Bhaswar Bandopadhyay, followed by a dance performance on the instrumental of the composition by members and young students of Nritya Nandan.
The elocutionist duo then walked the audience through Tagore's 1912 visit to England, mentioning when and where Tagore wrote the songs to be performed. "Pran Bhoriye, Trisha Horiye" was rendered in chorus - a song Tagore wrote on June 3 that year while on a ship in the Red Sea. "Shundor Pot-e Tobo Ongodo Khani" was sung in chorus next, accompanied by a graceful solo dance presentation by Sudeshna Swayamprabha. The narration went on, of Tagore's surgery and recovery in Chelsea, England in 1913, when he wrote "Oshim Dhon Toh Achey" and "Tomari' Naam Bolbo"; the songs were also pre-sented, in solo and duet respectively.
Tagore's exhaustion from the hectic schedules of lectures and receptions, and his yearning to return to his native land was reflected beautifully in Bulbul Islam's solo rendition of "Ei Monihaar Amaye Nahi Shajey".
Tagore's next trip to Europe, in September 1926, took him through the Scandinavian countries to Germany's Hamburg. There he wrote “Kar Chokh'er Chawaye Hawaye", which was the next presentation in a female chorus with noted dancer and head of Nritya Nandan, Sharmila Bannerjee taking centrestage in an expressive, enchanting solo.
Hie narrations continued about his travels to Berlin and Munich, and performance of works he wrote there: "Chuti'r Ba(n)shi Bajlo Ie’ (female duet rendi-tion)"Nai Nai Bhoy" (male group dance to chorus) and "Akash Tomaye Kon Ruupe Mon Chinte Parey" (female group dance to recitation). A few pieces of this segment seemed a tad under-prepared, both musically and in terms of choreography and dance.
"Shokal Bela'r Aloye Bajey”, a song Tagore wrote in the Bavarian city of Nuremberg on September 19, was rendered beautifully in a solo; the esraj accompaniment in the song was remarkable. "Amar Mukti Aloye Aloye" was in queue next, presented in a chorus and a splendidly choreographed group dance presentation. "Modhu'r Tomar Sheshe Je Na Paye’ was rendered next by Laisa Ahmed Lisa.
Tagore's return through Greece saw the birth of another song, "Ja la Peyechi", presented in a female group dance featuring mother-daughter duo Sharmila Bannerjee-Sudeshna taking foreground to a solo rendition. Tagore's admiration of the beautiful Balaton lake in Budapest, Hungary and the peace he found there prompted him to write ‘Poth Ekhono Shesh Holo Na’ and "Diner Belay Ba(n)shi Tomar", presented in duet and solo renditions respectively, were followed by the closing performance “Arup Tomar Bani".