Month: May 2026

Bhabani Shankar Dasgupta Abstract This article, based on the historical documentation by Bhabani Shankar Dasgupta, explores the origins, structural evolution, and technical mastery of the Masidkhani Gat. Originating from the lineage of the legendary Tansen through Ustad Masid Khan, this Vilambit (slow) instrumental style marked a revolutionary shift in North Indian classical music by integrating the expressive depth of Khayal vocal conventions into stringed instruments like the Sitar and Sarod. The study details the unique architectural components of the Gat—including the Sthayee, Antara, and the transitional Manjha—and examines the rhythmic precision required to execute Tans within the 16-beat Teental cycle. Furthermore, it highlights Masid Khan’s physical innovations to the Sitar and the subsequent establishment of the Jaipur Baaj (or Paschimi Baaj). By tracing its journey from royal courts to contemporary global stages, the article underscores the enduring legacy of the Masidkhani tradition as a cornerstone of the instrumental repertoire. Key Words: Masidkhani Gat, Vilambit Teental, Read More …

Abstract:Indian classical dance stands as a vibrant evidence to the country’s rich cultural legacy, enclosing centuries of spiritual expression, storytelling, ritual and artistic discipline. Rooted in ancient texts and regional traditions, these dance forms such as Bharata Natyam, Kathak, Odissi, Kathakali, Kuchipudi, Manipuri, Mohiniyattam and Sattriya, have not only survived but continue to flourish amidst rapid social and technological changes. This article search deeply into the multifaceted support systems that sustain Indian classical dance today, with a particular focus on the collaborative roles of government institutions and private organisations. The government’s involvement includes policy-making, the allocation of funds, establishment and maintenance of dedicated academies and university departments, organisation of festivals and the presentation of awards and scholarships. These efforts help formalize education, provide platforms for performance and ensure the continuity of traditional knowledge. Simultaneously, private organisations including NGOs, cultural trusts, dance schools and passionate individuals contribute through innovation, outreach programs, digital archiving, international collaborations and Read More …

​Ph.D. Research Scholar  Department of Performing Arts (Music) Sister Nivedita University Abstract The study explores the intersection of aesthetic philosophy and spiritual practice. In particular, it analyses how the inner mental state or ‘bhaba’ of an artist runs parallel to the core principles of Sufi mysticism. Focusing on the dawn raga ‘Bhairav’ this study highlights the historical significance of music as a bridge between the earthly and divine worlds. The main objective of this article is to analyse the conceptual relationship between ‘bhava’ (theory of inner feeling) and the concept of ‘safa’ or purity in Sufi practice. One of the aims of this study is to explore how the ‘Ashtha prahara’ (round the clock) system of Indian classical music is consistent with the ‘fayez’ or level of spiritual compassion in Sufi philosophy. This article is written based on the qualitative research method and using the comparative theoretical framework of ‘Natyashastra’ and Sufi philosophical discourse. This Read More …

Sangit Bhavana, Visva-Bharati keyaroy26@gmail.com  Keywords : Dhananjay, Song, Play, Prayaschitta, Muktadhara, Baul, Devotion   Abstract :            Two plays, Prayaschitta and Muktadhara, are particularly notable in Rabindranath’s dramas. An important character in these two plays is Dhananjay Bairagi. Muktadhara was written a long time after the composition of Prayaschitta. In these two plays, the character of Dhananjay Bairagi is a very spontaneous and fluent Baul character and at the same time he is the driving force of the two plays. It is as if Rabindranath expressed his views through this Dhananjay. In addition, the presence of Baul music through Dhananjay is observed in almost all parts of the two plays. Although there are some similarities in the use of music in the plays Prayashchitta and Muktadhara, the sequence of events is different. The playwright Rabindranath has skillfully used Baul songs here, which is very important in the narrative analysis of the two plays. Every Baul song used Read More …

ওরে ভাই, ফাগুন লেগেছে বনে বনে – ডালে ডালে ফুলে ফুলে পাতায় পাতায় রে, আড়ালে আড়ালে কোণে কোণে।।        শিমুল পলাশের রঙে রঙে ফাগুন এসে ধরা দিয়েছে শান্তিনিকেতনের মাটিতে। তার সাথে প্রস্তুতি শুরু হয়ে গিয়েছে বিশ্বভারতী পরিচালিত বসন্ত উৎসবের। এই আলোচনায় সেই বহুল জনপ্রিয় বসন্ত উৎসবের ইতিহাস কিছুটা ছুঁয়ে দেখার চেষ্টা করা হবে। বহুকাল ধরে প্রচলিত হয়ে আসছে, ১৯০৭ সালের ‘শ্রীপঞ্চমী’ তিথিতে রবীন্দ্রনাথের কনিষ্ট পুত্র বালক শমীন্দ্রনাথ শান্তিনিকেতনে প্রথম ‘বসন্তোৎসব’-এর সূচনা করেছিলেন। ইতিহাস পর্যালোচনা করলে দেখা যায় ১৩১৩ বঙ্গাব্দের শ্রীপঞ্চমী তিথিতে শান্তিনিকেতনে শমীন্দ্রনাথ যে অনুষ্ঠানের সূচনা করেছিলেন তা ছিল ‘ঋতু-উৎসব’। ‘রবীন্দ্রজীবনী’-কার প্রভাতকুমার মুখোপাধ্যায়ের মন্তব্য থেকে জানা যায়, ১৭ ফেব্রুয়ারি শমীন্দ্রনাথ পরিচালিত সেই ঋতু উৎসবে শমীন্দ্রনাথ এবং আরো দুইজন ছাত্র সেজেছিলেন বসন্ত, একজন বর্ষা; আর তিনজন সেজেছিলেন শরৎ। ‘রবিজীবনী’-কার প্রশান্তকুমার পালের মতানুসারে, সেবছর ‘শ্রীপঞ্চমী’ পড়েছিল ১৮ জানুয়ারি। শমীন্দ্রনাথের একটি পত্রাংশ থেকে তিনি সেদিনের উৎসবের বিবরণ পেয়েছিলেন। পরবর্তী সময়ে শান্তিনিকেতনে ‘শ্রীপঞ্চমী’ তিথিতে ‘বসন্তোৎসব’ উদযাপন করা হয়েছে, তার প্রমাণও পাওয়া যায়। ১৯২৩ সালের ২২ জানুয়ারিতে মাঘীপূর্ণিমার রাতে আশ্রমিকরা Read More …

Department of Music, Ramsaday College, Amta, Howrah, WB,India Abstract: In this paper, an attempt has been made to present, in a very simplified manner, a reflection of the daily life and philosophy of all classes of people in rural Bengal through the medium of Bengali folk music. Through the exploration and analysis of the significance, depth, and impact of various folk songs from different regions of Bengal, a comprehensive picture of the reflection of rural life in the then-prevailing social system has been presented. With the help of this paper, any researcher or individual may gain a detailed understanding of the unique essence of social messages of rural life through Bengali folk music.    Key Words:     Folk Music, Bengal, Rural Life, Social Message, Reflection.  Introduction: It is impossible to state exactly when folk music originated in the history of Indian music. Because, folk music has been passed down orally from generation to generation for ages, Read More …

Authors: Professor (French), University of Lucknow Partho Das. Assistant Professor – II (French), Amity University Kolkata & Ph.D Research Scholar (French) University of Lucknow Abstract: Manik Bandopadhyay is a major writer of modern Bengali literature. He is known for his realistic description of rural life, poverty, and social struggle. His works often show how common people live under difficult conditions. Guy de Maupassant is one of the most important French realist writers of the nineteenth century. He is famous for his simple style and deep understanding of human psychology and everyday life. This paper presents a comparative study of Majhir Chele by Bandopadhyay and Pierre et Jean by Maupassant. The study focuses on realism and the representation of the human condition in two different cultural contexts. In Majhir Chele, Bandopadhyay presents the life of poor people who depend on nature and their surroundings for survival. The characters are closely connected to the land and water, which shape their identity Read More …

​ Khandaker Nafij Imtiaj Himel, Ph.D. Research Scholar,  Department of Performing Arts (Music), Sister Nivedita University Abstract The study explores the intersection of aesthetic philosophy and spiritual practice. In particular, it analyses how the inner mental state or ‘bhaba’ of an artist runs parallel to the core principles of Sufi mysticism. Focusing on the dawn raga ‘Bhairav’ this study highlights the historical significance of music as a bridge between the earthly and divine worlds. The main objective of this article is to analyse the conceptual relationship between ‘bhava’ (theory of inner feeling) and the concept of ‘safa’ or purity in Sufi practice. One of the aims of this study is to explore how the ‘Ashtha prahara’ (round the clock) system of Indian classical music is consistent with the ‘fayez’ or level of spiritual compassion in Sufi philosophy. This article is written based on the qualitative research method and using the comparative theoretical framework of ‘Natyashastra’ Read More …