Year: 2023

Chhayarani Mandal, Assistant Professor, Sangeet Bhawan, Vishwabharati, Shantiniketan, West Bengal Abstract: This study delves into the profound influence of philosophical imitation theory on the traditional Indian musical genre known as Ram Sangeet. Rooted in the ancient philosophy of artistic imitation, this theoretical framework posits that artistic expression can be enhanced through the imitation of universal truths and archetypal concepts. The research explores the ways in which Ram Sangeet, a musical tradition deeply embedded in the cultural and spiritual fabric of India, has incorporated and adapted the principles of philosophical imitation. Through a comprehensive analysis of key compositions and performances, the study aims to unveil the subtle nuances and transformative elements brought about by the integration of philosophical imitation theory into the artistic practices of Ram Sangeet. By examining historical developments, notable compositions, and the evolution of performance techniques, this research sheds light on the symbiotic relationship between philosophy and music within the context of Ram Read More …

Rakhi Mondal M.A. in English Literature, Rabindra Bharati University ABSTRACT The word ‘feminism’ is a common term in today’s world. The status of women in India has been subject to many changes over the span of recorded Indian history. The Matua movement was initiated during the late 19th century by the Namasudras, a group of people belonging to lower caste peasants. This eventually took the form of a social movement. This movement later lost momentum just after raising hopes from Dalit awakening in the context of West Bengal. The term ‘Dalit’ means ‘oppressed’ or ‘downtrodden’. And when it comes to Dalit women, they are doubly marginalized for being a Dalit and being born as a woman. However, the Matua movement has changed that view. Harichand and Guruchand Thakur, the pioneers of the Matua community, laid emphasis on gender equality to enlighten women through their family and education. In the Brahminical patriarchal society, women were intentionally Read More …

Dr.Sumona Banerjee, Guest Faculty, Department of Music, Sikkim University, Sikkim. India Mobile no. 9734833568, E-mail: sumonabanerjee.music19@gmail.com Abstract :    The ability of artists and producers to express their artistic vision and provide audiences with enthralling musical experiences is made possible by music creativity and compilation, which are fundamental components of the music business. The process of composing and creating original musical content is characterized by imagination and innovation. It includes various components, including melody, harmony, rhythm, instrumentation, lyrics, and production techniques, combined to produce original and passionate songs. Composing music is the process of choosing and ordering a variety of songs or other musical works in a logical and engaging sequence. Compilations can be albums, playlists, or soundtracks and serve a number of purposes, including conveying a story, capturing a certain mood or subject, or showcasing a particular genre or artist. Deep knowledge of musical theory, proficiency with various instruments or production software, and a strong eye for beauty Read More …

Shatabdi Sadhu Mondal Abstract: This study delves into the multifaceted dynamics of the British presence in Bengal during the nineteenth century, specifically examining their engagement with the Bengali language and history. Focused on the empowerment of the British, the research elucidates the mechanisms through which linguistic and historical knowledge became instruments of influence and control. By scrutinizing the educational, administrative, and cultural initiatives undertaken by the British, this study aims to unravel the intricate ways in which they navigated and wielded the power dynamics inherent in language and historical narratives. Drawing on a variety of primary sources, including archival materials, official documents, and literary works of the time, the research provides a nuanced exploration of how the British not only acquired linguistic and historical proficiency but also strategically employed these skills to consolidate their authority. The analysis extends to the impact of these initiatives on local communities, shedding light on the implications of such empowerment Read More …

Dr. Srabani Sen Abstract: This paper delves into the profound influence and enduring legacy of Kazi Nazrul Islam, the renowned Bengali poet, musician, and revolutionary, in the realm of Bengali drama. Focusing specifically on Natyasangeet, the musical aspect of theatrical performance, the study explores Nazrul’s unique contributions to this art form. Nazrul, often hailed as the “Rebel Poet” of Bengal, not only revolutionized the literary landscape but also left an indelible mark on Bengali drama through his innovative use of music and lyrics. The research employs a multidisciplinary approach, drawing on literary analysis, historical context, and musical theory to unravel the nuances of Nazrul’s creative genius. By examining key works, such as his plays, musical compositions, and writings on drama, the paper elucidates how Nazrul seamlessly integrated traditional elements of Natyasangeet with his distinctive poetic expressions. Furthermore, the study investigates the socio-cultural impact of Nazrul’s contributions, exploring how his progressive ideas and fervent advocacy for Read More …

Swanupama Sen Gupta Research Scholar, M. Phil Rabindra Bharati University March 15, 2023 Shakuntala was first mentioned in the preface of the Indian Mythology – Mahabharata. This character is still known as the Shakuntala of the Myth. Kalidasa gave this mythical character the entity of a conventional figure through his play – Abhigyanam Shakuntalam. The journey of Shakuntala from being in mythology to becoming a household name, has seen transcendence in time, thought, and evolution of her character in various manner. Gradually, Among various other characters, Shakuntala and her crisis became the center of Kalidasa’s focus. There are subtle, yet noticeable, differences between the two Shakuntalas. The conventional Shakuntala was not opinionated. She believed in fate and in the idea of purity within a woman. Kalidasa’s Shakuntala was shy, timid, and never had a voice in matters. Even though he allowed her to choose her own husband in her early life, she was not allowed Read More …

       Abstract: Gaudiya Vaishnavism, a prominent sect within the broader Vaishnavism tradition, originated in the 15th century with the teachings of Chaitanya Mahaprabhu in Bengal, India. This devotional movement has had a profound impact on various aspects of Indian culture, including classical arts and dance forms. One such instance is the influence of Gaudiya Vaishnavism on Manipuri dance, a traditional dance form originating from the northeastern state of Manipur. This abstract explores the intricate connections between Gaudiya Vaishnavism and Manipuri dance, highlighting the cultural assimilation and transformation of religious ideologies into the realm of performing arts. Gaudiya Vaishnavism’s emphasis on the devotional worship of Lord Krishna and the ecstatic expression of love for the divine has significantly influenced the thematic and stylistic elements of Manipuri dance. The study delves into the historical context of Manipuri dance and the introduction of Gaudiya Vaishnavism into the region. It investigates how the Vaishnavite philosophy, particularly the Radha-Krishna bhakti Read More …

দেবাশিস মণ্ডল Abstract: The cultural landscape of Bengal is rich with traditions that intertwine music, celebration, and spirituality. This paper delves into the unique intersection of gramophone record songs and the auspicious festival of Durga Puja, two significant facets of Bengal’s cultural heritage. Beginning with an exploration of the historical context, we trace the evolution of gramophone records in Bengal and their pivotal role in preserving and disseminating traditional Bengali music. These records not only captured the essence of folk, devotional, and contemporary compositions but also served as carriers of nostalgia, invoking memories of bygone eras. Moving forward, we delve into the vibrant tapestry of Durga Puja, arguably the most celebrated festival in Bengal. We analyze the intricate rituals, elaborate decorations, and the profound spiritual significance associated with the worship of Goddess Durga and her triumph over evil. Central to our discussion is the fusion of gramophone record songs with the festivities of Durga Puja. Read More …

Somrita Chakraborty Abstract: This abstract delves into the dynamic interplay between Javanese-Balinese art forms and the distinctive dance style of Santiniketan, India. Rooted in the cultural crosscurrents of the early 20th century, the Santiniketan dance style, spearheaded by the visionary Rabindranath Tagore, was not insulated from external influences. This paper investigates the multifaceted ways in which the rich traditions of Javanese and Balinese dance have permeated and contributed to the evolution of Santiniketan’s unique dance form. The exploration begins by contextualizing the historical and cultural milieu during which this cross-cultural exchange took place. Tagore, the founder of Santiniketan, actively sought inspiration beyond national borders, fostering an environment conducive to the amalgamation of diverse artistic expressions. The Javanese-Balinese influence is examined through an analysis of key choreographic elements, including movements, gestures, costumes, and musical accompaniments. Furthermore, the paper explores the philosophical underpinnings shared by Javanese-Balinese and Santiniketan dance forms, investigating how concepts such as spirituality, nature, Read More …

Dr. Sugata Das, Assistant Professor, Sister Nivedita University In Post Tagore era there was no use of western instruments or even Harmonium in any kind of Tagore’s dance drama till 1960, though Jyotirindranath Tagore and Satyendranath Tagore often used Harmonium in their compositions. But after that by the initiative of Indian and State Governments a lot of auditoriums were built in various capitals, cities as well as suburbs and urban areas and Tagore’s dance dramas were accepted publicly. Slowly, after 1980, with the changes of time the presentation has been modified. Some choreographers used the original authentic composition and some others created new compositions of music with the modern instruments. Some composers transformed it in Hindi, Odia, Santhali. Some stages were crafted traditionally while others were decorated by Madhubani art or Patachitra of Kalighat etc. Till the year 2000, many research oriented or experimental works have been done in the field of dance from this Read More …