Blooming Towards Maturity
Movements of mind with its spontaneous emotional beats set the mystic yet rhythmic pace of our life to a new direction -- a journey of hope replete with the qualities of fresh ideas and finer impressions. And gradually they culminate in a unique feast of the soul leading us to a journey so beauteous and truthful. John Keats undertaking that voyage of mind perhaps had truly spoken of art as the best medium to eternalize a particular moment of life. When he wrote, “Beauty is Truth, Truth Beauty…..” Keats did it through his art of poetry while musicians, dancers and the painters do it with the shades of true emotions and sentiments with their respective genres of art. The truth again perhaps, is the continuance of the artistic journey of the artist celebrating the eternal moments, with fresh blooming, extending to the realm of beauty and the grandeur of human art.
‘Prerona’ was such an event of beauty and joy, initiated for the promotion of the new blossoms in music. Mounted by the Assam Academy for Cultural Relations, an institution of repute, remarkable for its diversified works towards emotional and cultural integration among the varied social groups of Assam and its neighbouring states. The Academy has, to its credit, also undertaken several projects of publications and has continuously been engaged in its activities of holding seminars, lectures by eminent scholars from different corners of our country, giving the residents of Guwahati glimpses of the cultural heritage of Assam and India for that matter. ‘Prerona’ was another such laudable effort of the Academy launched as promotional venture to inspire upcoming talents in music and dance.
The evening of August 24, was an evening of harmony, where there were constant flow of melody and rhythm for hours by a group of youngsters below 20. But their age could hardly stop their flourishing minds, in rendering scintillating performances. The programme began with the lighting of the ceremonial lamp by Shri Paban Bordoloi, the artiste of repute in rhythm and Shri Ram Goswamee, noted critic and playwright and Vice - President of the Academy. Shri Bordoloi in his inaugural address articulated on the significant facets of Indian art and music in general and its environment in Assam. The concept of art can be compared with a flower, whose external beauty signifies its existence amidst other objects of the world but it’s implicit charm and grace gives us a wholistic view with its aesthetic appeal, making it a work of rare artistry in nature. Illustrating on the point of aestheticism in art, he said “…..art is not bounded within the confinements of grammar; it needs the aesthetic vision which gives it a sense of completeness. But somehow, from the wider profile of the present day art scenario, most of the pursuers of art seem to have failed to reach that state, and the teachers have also hardly been able to instill the qualities amongst their disciples. The result of which is the gradual state of regression of art, widening the chasm between the spectators and the performers failing to elevate the minds to the higher state of beauty and joy. He also called upon the learners of music to take up the art and its pursuit with their utmost sincerity and devotion and imbibe the philosophy inherent in it. His words took this humble admirer of performing arts to those maestros of Indian music and dance who idolized their art as God and enriched and widened the horizon of Indian heritage with their soulful contributions.
Coming to the presentation part of the evening, ‘Prerona’ began with the staging of a young talent Kumari Stutivani with her presentation of two Bargits by Sri Sri Madhavadeva, the principal apostle of Srimanta Sankaradeva and a great composer himself. The Bargits are a set of gems of Indian Raga music being devotional compositions of these two great Vaisnava saints of the 15th and 16th centuries set to an intricate melodic and rhythmic pattern. Of high emotive and literary value, the Bargits have given a classic foundation and a sense of distinct individuality to the tradition of Assamese music next only to the Carya songs of the Buddhist esoterism and the Ojapali. Gifted with a sweet and tuneful voice, Stutivani who had her initial training in Hindustani Classical under Smt. Ranju Neog and a few others is presently pursuing her training in Bargit under the guidance of Dr K.D.Goswami, gave her performance with Hari Kamalakanta Koise Bisuri in Raga Badadi and Hari Guna Koise in Raga Dhanashri and Basanta. A significant trait of her performance was her presentation in the traditional style of ‘Rag Talani’ with the display of several talas in a single composition resembling the ‘Tala Malika’ style of Carnatic Music. The first composition was set to Paritaal, Dharamjoti, Domani, Chutkala,Thaktaal. Stuti stood in her part with her fine command over her talas, although her percussionist was not in his best as the singer had at every point of transition from one tala to another, appeared to be jittery of her percussionist. Also, an amount of more coordination and harmony amongst her accompanists would have further enhanced the artistic and aesthetic appeal of this bright student. Later she and her group were felicitated by the distinguished exponent of Sattriya Dance and a SNA Awardee Shri Ghanakanta Bora Borbayan.
With a well knit presentation, Stuti’s recital was followed by the young and bright Shri Manimugdha Choudhury, with his brilliant feat of rhythm in Tabla. Starting his journey in rhythm at the age of 5 under the guidance of Shri Pradip Kalita, Manimugdha is at present taking advanced lessons from Shri Paban Bordoloi with a scholarship from the CCRT. Manimugdha who stole the show that evening with his marvel in playing Pancham Sawari, the 15 beat intricate work in Vilambit, Madhya and Drut presented the audience a moment of rare joy and enthralled everyone. His subtle handling of the intermediary strokes sparkled with brilliance and kept the audience looking beyond with hope and joy for a brighter future. With his gentle stage presence, his performance was supported by a coordinated group involvement. He was accompanied by Shri Dwipen Sarma in Harmonium and Shri Jatin Chetia in Tanpura. Shri Prabhat Sarma, the distinguished artist and a SNA Awardee felicitated Manimugdha and his group.
The evening’s third item included a vocal recital by Ankita Rekha Bora who has just stepped into the age of teens. With a seductive appearance and commanding voice Ankita’s performance was animated with confidence and promise. Concentrating on Puriya Dhanashree in Ektaal gave the audience a good follow up after Manimugdha’s scintillating feat. Ankita Rekha was felicitated by Smt Minati Khound, the noted Violinist.
The finale of the evening was drawn with a violin recital by Manas Samua. A talent of high order Manas began his early lessons under the tutelage of his father G. Samua, and later under the guidance of Indreswar Sarma of Jorhat who was his father’s guru also. At present he is also undertaking his higher training under the the noted singer and violinist Shri Vidyut Mishra with a scholarship from the Depatment of Culture, Government of India. With accumulated experience of several performances in various prestigious platforms and award of accolades from the music lovers and art connoisseurs. Manas’ tuneful bowing with ease and smoothness in Raga Saraswati enlightened the audience. Starting with a slow rhythm Vilambit it gradually culminated in Drut filling the audience with joy and awe. The Tabla support by Shri Dibyajyoti Changmai was good albeit there was a bit of lack of cohesive communication between the players, the presence of which could have made the recital even more enjoyable and enlivening. Manas and his co-supporter were felicitated by Professor K.D.Goswami of Dibrugarh University.
Movements of mind with its spontaneous emotional beats set the mystic yet rhythmic pace of our life to a new direction -- a journey of hope replete with the qualities of fresh ideas and finer impressions. And gradually they culminate in a unique feast of the soul leading us to a journey so beauteous and truthful. John Keats undertaking that voyage of mind perhaps had truly spoken of art as the best medium to eternalize a particular moment of life. When he wrote, “Beauty is Truth, Truth Beauty…..” Keats did it through his art of poetry while musicians, dancers and the painters do it with the shades of true emotions and sentiments with their respective genres of art. The truth again perhaps, is the continuance of the artistic journey of the artist celebrating the eternal moments, with fresh blooming, extending to the realm of beauty and the grandeur of human art.
‘Prerona’ was such an event of beauty and joy, initiated for the promotion of the new blossoms in music. Mounted by the Assam Academy for Cultural Relations, an institution of repute, remarkable for its diversified works towards emotional and cultural integration among the varied social groups of Assam and its neighbouring states. The Academy has, to its credit, also undertaken several projects of publications and has continuously been engaged in its activities of holding seminars, lectures by eminent scholars from different corners of our country, giving the residents of Guwahati glimpses of the cultural heritage of Assam and India for that matter. ‘Prerona’ was another such laudable effort of the Academy launched as promotional venture to inspire upcoming talents in music and dance.
The evening of August 24, was an evening of harmony, where there were constant flow of melody and rhythm for hours by a group of youngsters below 20. But their age could hardly stop their flourishing minds, in rendering scintillating performances. The programme began with the lighting of the ceremonial lamp by Shri Paban Bordoloi, the artiste of repute in rhythm and Shri Ram Goswamee, noted critic and playwright and Vice - President of the Academy. Shri Bordoloi in his inaugural address articulated on the significant facets of Indian art and music in general and its environment in Assam. The concept of art can be compared with a flower, whose external beauty signifies its existence amidst other objects of the world but it’s implicit charm and grace gives us a wholistic view with its aesthetic appeal, making it a work of rare artistry in nature. Illustrating on the point of aestheticism in art, he said “…..art is not bounded within the confinements of grammar; it needs the aesthetic vision which gives it a sense of completeness. But somehow, from the wider profile of the present day art scenario, most of the pursuers of art seem to have failed to reach that state, and the teachers have also hardly been able to instill the qualities amongst their disciples. The result of which is the gradual state of regression of art, widening the chasm between the spectators and the performers failing to elevate the minds to the higher state of beauty and joy. He also called upon the learners of music to take up the art and its pursuit with their utmost sincerity and devotion and imbibe the philosophy inherent in it. His words took this humble admirer of performing arts to those maestros of Indian music and dance who idolized their art as God and enriched and widened the horizon of Indian heritage with their soulful contributions.
Coming to the presentation part of the evening, ‘Prerona’ began with the staging of a young talent Kumari Stutivani with her presentation of two Bargits by Sri Sri Madhavadeva, the principal apostle of Srimanta Sankaradeva and a great composer himself. The Bargits are a set of gems of Indian Raga music being devotional compositions of these two great Vaisnava saints of the 15th and 16th centuries set to an intricate melodic and rhythmic pattern. Of high emotive and literary value, the Bargits have given a classic foundation and a sense of distinct individuality to the tradition of Assamese music next only to the Carya songs of the Buddhist esoterism and the Ojapali. Gifted with a sweet and tuneful voice, Stutivani who had her initial training in Hindustani Classical under Smt. Ranju Neog and a few others is presently pursuing her training in Bargit under the guidance of Dr K.D.Goswami, gave her performance with Hari Kamalakanta Koise Bisuri in Raga Badadi and Hari Guna Koise in Raga Dhanashri and Basanta. A significant trait of her performance was her presentation in the traditional style of ‘Rag Talani’ with the display of several talas in a single composition resembling the ‘Tala Malika’ style of Carnatic Music. The first composition was set to Paritaal, Dharamjoti, Domani, Chutkala,Thaktaal. Stuti stood in her part with her fine command over her talas, although her percussionist was not in his best as the singer had at every point of transition from one tala to another, appeared to be jittery of her percussionist. Also, an amount of more coordination and harmony amongst her accompanists would have further enhanced the artistic and aesthetic appeal of this bright student. Later she and her group were felicitated by the distinguished exponent of Sattriya Dance and a SNA Awardee Shri Ghanakanta Bora Borbayan.
With a well knit presentation, Stuti’s recital was followed by the young and bright Shri Manimugdha Choudhury, with his brilliant feat of rhythm in Tabla. Starting his journey in rhythm at the age of 5 under the guidance of Shri Pradip Kalita, Manimugdha is at present taking advanced lessons from Shri Paban Bordoloi with a scholarship from the CCRT. Manimugdha who stole the show that evening with his marvel in playing Pancham Sawari, the 15 beat intricate work in Vilambit, Madhya and Drut presented the audience a moment of rare joy and enthralled everyone. His subtle handling of the intermediary strokes sparkled with brilliance and kept the audience looking beyond with hope and joy for a brighter future. With his gentle stage presence, his performance was supported by a coordinated group involvement. He was accompanied by Shri Dwipen Sarma in Harmonium and Shri Jatin Chetia in Tanpura. Shri Prabhat Sarma, the distinguished artist and a SNA Awardee felicitated Manimugdha and his group.
The evening’s third item included a vocal recital by Ankita Rekha Bora who has just stepped into the age of teens. With a seductive appearance and commanding voice Ankita’s performance was animated with confidence and promise. Concentrating on Puriya Dhanashree in Ektaal gave the audience a good follow up after Manimugdha’s scintillating feat. Ankita Rekha was felicitated by Smt Minati Khound, the noted Violinist.
The finale of the evening was drawn with a violin recital by Manas Samua. A talent of high order Manas began his early lessons under the tutelage of his father G. Samua, and later under the guidance of Indreswar Sarma of Jorhat who was his father’s guru also. At present he is also undertaking his higher training under the the noted singer and violinist Shri Vidyut Mishra with a scholarship from the Depatment of Culture, Government of India. With accumulated experience of several performances in various prestigious platforms and award of accolades from the music lovers and art connoisseurs. Manas’ tuneful bowing with ease and smoothness in Raga Saraswati enlightened the audience. Starting with a slow rhythm Vilambit it gradually culminated in Drut filling the audience with joy and awe. The Tabla support by Shri Dibyajyoti Changmai was good albeit there was a bit of lack of cohesive communication between the players, the presence of which could have made the recital even more enjoyable and enlivening. Manas and his co-supporter were felicitated by Professor K.D.Goswami of Dibrugarh University.
The evening of euphony with soulful presentations by these young talents left in the minds of music loving audience rare moments of joy not to be forgotten. It is of pertinent importance to put on record with much appreciation the noble venture of the Assam Academy to encourage and promote such young talents of art and hoped that such efforts should be sustained in right earnest in the days to come.
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