OGO KISHORO AJI | MANOJ MURALI NAIR | MANISHA MURALI NAIR | RABINDRANRITTYA | TABASMI PAUL MAJUMDAR

My mother, my soul, taught me to be brave and strong; yet I find she's my biggest weakness. I don't want to feel that maa is not around anymore; nor do I want to think about it.The harsh impossibility stops me from touching her, from smelling her fragrances, from embracing her.My dance is my mother's dream. I never thought I would be a dancer. It was her desire and guidance that helped me walk in this path. Maybe maa won't see me dancing anymore, but I feel that she would watch me and watch over me from somewhere.So my dance offering to the tunes of maa's one very favourite song, because I want to celebrate her everyday, and every moment.This spring is only for you maa.


The season of spring breaks the dusty moulds of winter...brings in a plethora of novelty in the nature, and flushes in hope, happiness and love in our lives. We sing, we dance, we find ourselves in harmony with each other and the nature. It's the season of colours; it's about filling our souls with energy to embark on a new year.


Tagore was deeply influenced by the Hindu philosophical belief that we are all bound in the cycle of life consisting of births and deaths. We go from one life to another. So, death is just one incident in life. And, in this cycle of life, soul is transcendental and indestructible.

In Gitanjali, Tagore has already offered his soul to his lover [God] and now he is ready to offer his life to Death. According to Tagore, Death is not the negation of life, but it is the gateway through which life constantly renews itself. He welcomes Death and “Death thy servant is at my door.

“Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.”

― Rabindranath Tagore



Rabindranath Tagore was appreciative of cultural expression in dancing. For him, dance was the way of communication of souls. He put his soul efforts to make his students learn the aspects of all the Indian classical and folk dances and he appointed trained gurus in Shantiniketan. His hunger for cultural diversity in ashrama took him to the countries of global ends and he crossed over the boundaries of a ‘nation’ or a ‘religion’. He was open to every idea that was capable of expressing the soul's emotion in his dance dramas. With every staging there were some changes in techniques and presentations that were the harvest of his dazzling creativity. He founded the basis of a dance art that is flexible in structure and opens to adaptation and was used to present his dance dramas in and out of Shantiniketan. In sunset years of his life , he finalized the staging and presentation of three natya. They were accepted as Rabindra Nritya Natya-s and the dance form is called Rabindra Nritya.

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Audio Track :    • Ogo Kishor  

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With love, Tabasmi

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