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Of ecstatic expression and graceful mudra

Snata Shahrin's devotion towards dance

Zahangir Alom
Showcasing artistic dance mudras, evocative eye movements along with quicksilver expressions are prerequisites to a mesmerising dance performance. A classical dance artiste generally performs with several genres of classical music. S/he has to have rigorous practice, discipline, devotion and dedication to create a proximity with the audience. And to generate aesthetic Rasa in the hearts of classical dance connoisseurs is a tough job indeed.
Dancer Snata Shahrin fills the bill perfectly. An exceedingly accomplished and dedicated Kathak dancer, Snata has had refined taleem (training) of over two decades at Nrityanchal under renowned gurus Shibli Mohammad and Shameem Ara Nipa. The artiste had the privilege of a supportive cultural environment at her home. Her father Solaiman Khoka is a playwright, actor and producer of Bangladesh Betar and a TV play actor while her brother Pantha Shahriar is a noted theatre activist of Nagarik Natya Sampradaya. Again, Snata is married to popular fdm/TV play actor and versatile theatre activist Shatabdi Wadud who supports her in materialising her dreams to dance with perfection.
Snata gives an overview of the subject closed to her heart:
"My mother Shahida Banu was keen to learn dance in her younger days; but couldn't do so. That's why she quit her job to focus her attention on my dance training. I was pretty puerile and Maa would often without my knowledge stretch my practice time an hour more. I think my mother's trick had a great bearing on my dance career.
"1 always pick up new elements of dance from my gurus but I believe that 1 have to leam still more. Shibli sir is a great artiste and equally helpful.
Alongside dance lessons, I have learnt costume designing, conducting rehearsals and organising events successfully from him.
"It is to internalise the lessons. Firstly, I revise every minute detail and practice in front of a mirror. Only when I am satisfied, I prepare to perform on stage.
"While teaching us. Sir (Shibli Mohammad) baptises a dancer with lessons on several genres -tukra, paran and chakkar. He focuses on hand gestures, footwork and how to become a good performer. Bhao with the expression of thaat and nikash comes next.
"We generally start with thaat, meaning standing with a meditative andaz (assumption) while performing. It generates numerous expressions. Say for example, with the bol "Thei ta te dha", a mature female dancer, shrinking her eyebrow, can express her dual frames of mind -to attract and at the same time to reject bewitched males.
"I am blessed that I took lessons and won the heart of Pandit Birju Maharaj, the greatest dance maestro I have ever met. I was in class nine when I first met him in 1997.1 could hardly grasp much then. During his second visit in 2012 on an invitation from Nrityanchal, 170 of us dancers attended a workshop. On the second day of the workshop, Maharaj Ji inquired about me and asked a girl my name. He termed me as the smartest one in grasping lessons and showcasing those instantly. I feel really blessed at receiving accolades from Pandit Birju Maharaj."
Snata dreams of incorporating classical, mythological and contemporary elements in her choreography so that her creative instincts can be fulfilled.
Snata is also involved with theatre troupe Prachyanat and choreographed their production "Raja Ebong Annanyo". But, she is single minded about her love for dance.