The Nehru Centre in London came alive with the vibrant rhythms of Northeast India as it hosted Nritya Sangam, a cultural evening celebrating the rich artistic heritage of Assam, on July 24.

The event opened with a graceful Krishna Vandana performed by acclaimed Assamese Sattriya dancer and actor Rodali Bora. This serene invocation set a high standard for an evening designed to bridge India’s classical and folk traditions. A major highlight was the confluence of two celebrated classical dance forms: Sattriya and Kathak.

Renowned Kathak exponent Meghranjani Medhi, a recipient of the prestigious Sangeet Natak Akademi Ustad Bismillah Khan Yuva Puraskar, mesmerised the packed audience with her powerful presentation. Shifting from classical precision to folk energy, the Luitporia Nasoni Group took the stage next.

Their performance brought the vivid colours and infectious dynamism of Assam’s traditional folk dances to life. The evening also featured an emotional high point with a heartfelt musical tribute to Assam’s cultural icon, Zubeen Garg, which drew a warm emotional response from the crowd.

The event drew a house-full audience, bringing together members of the British public and diverse diaspora communities. Through its seamless blend of music and dance, Nritya Sangam concluded as a memorable celebration of Assamese culture in the heart of London.

কৰ্ণাটক সংঘ, মাণ্ড্যই কৰ্ণাটক মূডলাপায়া যক্ষগান পৰিষদ, বেংগালুৰুৰ সহযোগত আৰু ছিগাল থিয়েটাৰৰ সহযোগিতাত নাটখন মঞ্চস্থ কৰে। নাটখনৰ পৰিচালনামূলক দিশত পৰামৰ্শ আগবঢ়ায় সংগীত নাটক একাডেমী বঁটাপ্ৰাপক অধ্যাপক জয়প্ৰকাশ গৌড়া, বিশিষ্ট থিয়েটাৰকৰ্মী শ্ৰীনিবাস জি. কাপ্পানা আৰু এম. কে. হৰিশ কুমাৰে।

নাটখনত গণ্য, পৰিণীতা, ভানুপ্ৰিয়া, গণৱী, কুসুম, ললিতা, প্ৰকৃতি, যোগেশ আৰু জয়ন্তই বিভিন্ন চৰিত্ৰত অভিনয় কৰে। লোকসংগীতৰ পৰিচালনা কৰে স্বামী গমনহল্লী আৰু হনুমন্তু যদগনহল্লীয়ে।

‘দেৱী মহাত্মে’ৰ লগতে শিল্পীসকলে কৰ্ণাটকৰ এটা পৰম্পৰাগত লোকনৃত্যও পৰিৱেশন কৰে।

অনুষ্ঠানৰ শেষত কৰ্ণাটকৰ পৰা অহা শিল্পীসকলৰ সন্মানাৰ্থে অসমৰ পৰম্পৰাগত বিহু পৰিৱেশন কৰা হয়। বি. পাল্কী, মনময়ূৰী বৰ্মন, ডেইজী গগৈ, জিলমিল, অংকিতা আৰু তেজস্বিতাকে ধৰি আন শিল্পীসকলে বিহু পৰিৱেশন কৰি অতিথি শিল্পীসকলক উষ্ম আদৰণি জনায়।

এই সাংস্কৃতিক সন্ধিয়াত কেইবাগৰাকীও বিশিষ্ট থিয়েটাৰকৰ্মী, চলচ্চিত্ৰ পৰিচালক, শিল্পী আৰু নাট্যপ্ৰেমী উপস্থিত থাকে। দৰ্শকেৰে পৰিপূৰ্ণ প্ৰেক্ষাগৃহত সমগ্ৰ অনুষ্ঠানটোৱে উষ্ম সঁহাৰি লাভ কৰে।

‘দেৱী মহাত্মে’ৰ এই মঞ্চায়নে কেৱল কৰ্ণাটকৰ এক সমৃদ্ধ লোকনাট্য পৰম্পৰাক গুৱাহাটীৰ দৰ্শকৰ সন্মুখত তুলি ধৰাই নহয়, অসম আৰু কৰ্ণাটকৰ মাজত সাংস্কৃতিক আদান-প্ৰদানৰ এক সুন্দৰ পৰিৱেশো সৃষ্টি কৰে।

The production was presented by the Karnataka Sangha, Mandya, in cooperation with the Karnataka Moodalapaya Yakshagana Parishat, Bengaluru, and in association with Seagull Theatre. The performance offered the audience an opportunity to experience the rich folk theatre traditions of Karnataka through a blend of acting, music, dance and storytelling.

The play was staged under the mentorship of Prof. Jayaprakasha Gowda, a Sangeet Natak Akademi Awardee, theatre activist Srinivasa G. Kappana and M. K. Harish Kumar.

Ganya, Parinitha, Bhanupriya, Ganavi, Kusum, Lalita, Prakruthi, Yogesh and Jayanth portrayed the various characters in the production. The folk music was directed by Swamy Gamanahalli and Hanumanthu Yadaganahalli.

Along with ‘Devi Mahatme’, the visiting artistes also presented a folk dance from Karnataka, adding to the cultural richness of the evening.

The programme concluded on a warm note with a Bihu presentation by B. Palkee, Monmayuri Barman, Daisy Gogoi, Jilmil, Ankita and Tejaswita, among others, as a gesture of honour to the visiting artistes.

The evening brought together several prominent theatre activists, film directors, artistes and theatre enthusiasts. The auditorium remained packed as the audience responded warmly to the performance and the cultural exchange between Karnataka and Assam.

The presentation not only showcased the distinctive traditions of Moodalapaya Yakshagana but also created a meaningful cultural bridge between the folk traditions of Karnataka and Assam.

Popular Assamese YouTuber and social media influencer Bhukhan Pathak has once again stepped forward to support flood-affected families in Assam, extending financial and humanitarian assistance to people struggling with the devastating impact of the floods.

In the first phase of his relief initiative, Bhukhan Pathak distributed relief materials worth approximately ₹3 lakh among flood-affected people in Sivasagar and Jorhat districts.

Of the total amount, around ₹1.5 lakh was contributed from his own personal funds, while approximately ₹1 lakh was raised through public donations. In addition, relief materials and other essential items worth around ₹50,000 were donated from different sources.

The relief distribution focused on providing daily ration and essential items to families affected by the floods, offering immediate support to people who were facing difficulties in meeting their basic needs.

Second Phase: Helping Families Rebuild Their Homes

Following the first phase of relief distribution, Bhukhan Pathak has now started working on the second phase of his flood-relief initiative.

The focus of the second phase is to help families whose houses have been severely damaged or completely destroyed by the floods. Bhukhan Pathak is currently raising funds to support the repair and reconstruction of damaged homes.

So far, approximately ₹1.5 lakh has been collected, and fundraising is still continuing. Along with the funds raised from the public, Bhukhan Pathak plans to contribute additional money from his own resources wherever possible.

The aim is to provide assistance for the construction of temporary shelters and the reconstruction of tube wells, helping affected families regain access to basic shelter and essential facilities.

A Continued Commitment Since 2018

Since 2018, Bhukhan Pathak has been a beacon of hope for communities ravaged by the Assam floods. According to his supporters, he has consistently stepped forward during flood emergencies to provide assistance to affected communities.

Over the years, his humanitarian efforts have earned appreciation from people across Assam, particularly for his willingness to personally participate in relief activities rather than limiting his support to online fundraising.

Bhukhan Pathak has often expressed his belief that social media should be used not only for entertainment but also to stand beside people during difficult times.

Roots in Barpeta

Hailing from the historic town of Barpeta, Assam, Bhukhan Pathak was born in Bishnupur. He is the son of Shrimati Nalini Pathak and the late Shri Dinesh Pathak.

Through his work as a content creator, travel vlogger and social media personality, Bhukhan Pathak has built a significant audience while promoting Assamese culture and highlighting issues affecting people in the state.

Bhukhan Pathak’s latest flood-relief initiative has once again garnered profound public admiration, with communities deeply moved by his commitment to providing both immediate necessities and enduring, long-term support for flood-affected families. The second phase of this inspiring campaign is now actively underway. He continues to tirelessly raise essential funds, ensuring that even more families whose homes were devastated by the deluge receive the vital assistance they need to rebuild their lives.

Embracing the noble philanthropic ideals of the legendary musician Jayanta Hazarika and the beloved singer Zubeen Garg, the Xur Bahini has taken to the streets of Guwahati to extend a helping hand to the flood-affected people of Assam.

Continuing the noble tradition of the iconic artist Jayanta Hazarika, his family and friends united once again on the second day to perform musical renditions on the streets, gathering vital aid to support those devastated by the floods.

Garima Saikia Garg, wife of renowned artist Zubeen Garg, along with members of Jayanta Hazarika’s family and their peers, has undertaken a noble initiative to seek aid for flood-affected communities. Several organisations have joined hands in this collaborative endeavour to support the flood victims of Assam. This mass outreach campaign is a joint effort spearheaded by Chalachitra Samaj Asom, Kalaguru Artist Foundation, Guwahati Cine Musicians Association, Zubeen Fan Club, and the Association of Healthcare Providers India (AHPI NE1 Chapter). The relief collection drive commenced at Jalukbari and concluded its journey at Ulubari in Guwahati.

Regarding the public outreach rally, Garima Saikia Garg remarked: “Carrying the core ideals of legendary artists Jayanta Hazarika and Zubeen Garg deep within our hearts, we have stepped out onto the streets. Throughout this journey, the public has embraced us with an overwhelming wave of warmth and support. Every single person we meet yearns to stand by those in distress, readily extending a helping hand within their means. In our initial phase, the Kalaguru Artist Foundation and the Zubeen Garg Fan Club joined forces to organise a five-day relief camp. At a time when flood-affected families were in desperate need of food, clean drinking water, and essential medicines, we stepped in and have already successfully distributed these life-saving supplies.”

She added that they would be visiting the flood-affected areas for the second time, noting that several organisations had joined forces for this mission. This time, they would be carrying essential relief materials specifically needed for the rehabilitation of the flood victims. Furthermore, she mentioned that an experienced team of medical professionals would accompany them. According to their schedule, they are set to depart for Upper Assam on August 8th. Following their arrival, they will host two free medical camps and distribute the essential supplies from August 9th to August 11th. Expressing her gratitude, she highlighted how deeply moving it was to see people coming together to support one another during such a crisis. She concluded with a heartfelt wish that the spirit of unity and solidarity remains forever woven into the fabric of Assam.

“The government surely feels the pain of our people who have been severely broken by these floods,” said Garima Saikia Garg, advocating for the crisis to be declared a national disaster. She highlighted that such a designation is vital to launching the large-scale measures needed for a permanent solution, urging the government to step up and act now.

“Back in the 1970s, the iconic Jayanta Hazarika started the Xur Bahini, a golden era we didn’t get to see ourselves. However, when Zubeen Garg revived this incredible journey, we joined him immediately and have been part of his vision ever since.”

She added that since 2004-05, Zubeen Garg had always thrown himself into the service of the people, not just during floods, but whenever Assam faced a crisis. “If he were alive today, he would have been at the forefront of the flood relief efforts. We are simply dedicated to carrying his noble legacy forward,” stated Garima Saikia Garg.

The celebration followed the academy’s 21-day children’s summer theatre workshop, culminating in the staging of three plays. Two productions, ‘Po Maane Poruwa’, written by Thuriya Saikia, and ‘The Multiverse of Gaan Mama’, written by Rahul Gautam Sharma, were presented by the workshop participants. The third play, ‘Goti’, written by Poranjyoti Dutta, was performed by the faculties of the academy.

The cast of ‘Goti’ comprised Garima Saikia Garg, Sanjeev Buragohain, Seema Baruah, Thuriya Saikia, Tonmoyee Bora, Raghavee Dutta, Loyon Ranjan Bora, Afuranta Gohain, Himanisha Baishya and Didreekhya Borgohain.

All three productions were directed by Sanjeev Buragohain. Rohan Gautam Sharma served as the Chief Assistant Director, while Thuriya Saikia, Loyon Ranjan Saikia, Afuranta Gohain and Raghavee Dutta assisted in the direction.

Background music was designed by Rohan Gautam Sharma and Ayonanka Parashar, and performed by Gyandeep Deka, Ayonanka Parashar, Arindam Bora and Dhrubadeep Hazarika. Costume design was by Garima Saikia Garg & assisted by Tonmoyee Bora and Didreekhya Borgohain. Dance choreography was handled by Deep Rahang, assisted by Tonmoyee Bora, Thuriya Saikia and Himanisha Baishya. Lighting was designed by Rohan Gautam Sharma and Loyon Ranjan Saikia, while stage design and properties were managed by Binoy Das. Makeup was by Tibrajyoti Bairagi and Bhaskar Dutta.

The entire programme was conceptualised by Garima Saikia Garg. The use of Zubeen Garg’s music throughout the productions added emotional depth to the performances and was warmly received by the audience.

On the occasion, the academy announced the introduction of several regular training programmes. These include a seven-year curriculum in Sattriya, Borgeet and Khol, affiliated with Sangeet Sattra under the aegis of Padmabhushan Nrityacharya Jatin Goswami, a one-year acting course, Raja Baruah’s Percussion Classes, Creative Dance Classes by Dilip Dance Academy, and Modern Song Classes by Rupam Bhuyan.

Established by Zubeen Garg and Garima Saikia Garg in memory of Jonkey Borthakur, Abhinaya was founded with the vision of nurturing young talent and promoting the performing arts. This year’s celebration, however, carried a poignant significance. For the first time, Zubeen Garg was not present to witness the celebration, he had helped build continue to flourish. Though absent in person, his vision remained deeply embedded in every performance, and the evening stood as a heartfelt tribute to his enduring legacy and unwavering commitment to Assam’s cultural heritage.

অভিনয়াৰ ২১ দিনীয়া শিশু গ্ৰীষ্মকালীন নাট্য কৰ্মশালাৰ সামৰণিত তিনিখন নাট মঞ্চস্থ কৰা হয়। কৰ্মশালাৰ শিক্ষাৰ্থীসকলে থুৰীয়া শইকীয়াৰ ৰচনাত ‘প মানে পৰুৱা’ আৰু ৰাহুল গৌতম শৰ্মাৰ ৰচনাত ‘দ্য মাল্টিভাৰ্ছ অৱ গান মামা’ মঞ্চস্থ কৰে। আনহাতে, পৰাণজ্যোতি দত্ত ৰচিত ‘গতি’ নাটখনত অভিনয়াৰ প্ৰশিক্ষকসকলে অভিনয় কৰে।

‘গতি’ নাটখনত গৰিমা শইকীয়া গাৰ্গ, সঞ্জীৱ বুঢ়াগোহাঁই, সীমা বৰুৱা, থুৰীয়া শইকীয়া, তন্ময়ী বৰা, ৰাঘৱী দত্ত, লয়ন ৰঞ্জন শইকীয়া, অফুৰন্ত গোহাঁই, হিমানিশা বৈশ্য আৰু দিদ্ৰীক্ষা বৰগোহাঁইয়ে গুৰুত্বপূৰ্ণ চৰিত্ৰসমূহ ৰূপায়ণ কৰে।

তিনিওখন নাট পৰিচালনা কৰে সঞ্জীৱ বুঢ়াগোহাঁইয়ে। মুখ্য সহকাৰী পৰিচালক হিচাপে দায়িত্ব পালন কৰে ৰোহন গৌতম শৰ্মাই। সহকাৰী পৰিচালক আছিল থুৰীয়া শইকীয়া, লয়ন ৰঞ্জন শইকীয়া, অফুৰন্ত গোহাঁই আৰু ৰাঘৱী দত্ত।

আৱহ সংগীত ৰোহণ গৌতম শৰ্মা আৰু অয়নাংক পৰাশৰৰ। সংগীত পৰিৱেশন কৰে জ্ঞানদীপ ডেকা, অয়নাংক পৰাশৰ, অৰিন্দম বৰা আৰু ধ্ৰুৱদীপ হাজৰিকাই। কষ্টিউম ডিজাইনত গৰিমা শইকীয়া গাৰ্গক সহযোগ কৰে তন্ময়ী বৰা আৰু দিদ্ৰীক্ষা বৰগোহাঁইয়ে। নৃত্য পৰিচালনা কৰে দীপ ৰাহাঙে। তেওঁক সহযোগিতা কৰে তন্ময়ী বৰা, থুৰীয়া শইকীয়া আৰু হিমানিশা বৈশ্যই। পোহৰ ব্যৱস্থাপনা ৰোহন গৌতম শৰ্মা আৰু লয়ন ৰঞ্জন শইকীয়াৰ। মঞ্চসজ্জা আৰু প্ৰপাৰ্টি বিনয় দাসৰ। ৰূপসজ্জা তীব্ৰজ্যোতি বৈৰাগী আৰু ভাস্কৰ দত্তৰ।

সমগ্ৰ অনুষ্ঠানটোৰ পৰিকল্পনা গৰিমা শইকীয়া গাৰ্গৰ৷ নাটসমূহত জুবিন গাৰ্গৰ সংগীতৰ সাৱলীল ব্যৱহাৰে পৰিৱেশনসমূহত এক বিশেষ আৱেগিক মাত্ৰা সংযোজন কৰে, যি দৰ্শকৰ বিপুল সমাদৰ লাভ কৰে।

এই অনুষ্ঠানতে অভিনয়াই কেইবাটাও নিয়মীয়া প্ৰশিক্ষণ পাঠ্যক্ৰম আৰম্ভ কৰাৰ কথাও ঘোষণা কৰে। পদ্মভূষণ নৃত্যাচাৰ্য যতীন গোস্বামীৰ তত্ত্বাৱধানত সংগীত সত্ৰৰ স্বীকৃতিপ্ৰাপ্ত সাত বছৰীয়া সত্ৰীয়া, বৰগীত আৰু খোল পাঠ্যক্ৰম, এবছৰীয়া অভিনয়ৰ পাঠ্যক্ৰম, ৰাজা বৰুৱাৰ পাৰ্কাছন ক্লাছ, দিলীপ ডান্স একাডেমীৰ সৃষ্টিশীল নৃত্য প্ৰশিক্ষণ আৰু ৰূপম ভূঞাৰ আধুনিক গীতৰ ক্লাছ।

জংকী বৰঠাকুৰৰ স্মৃতিত জুবিন গাৰ্গ আৰু গৰিমা শইকীয়া গাৰ্গে প্ৰতিষ্ঠা কৰা অভিনয়া-জংকী বৰঠাকুৰ পৰিৱেশ্য কলা কেন্দ্ৰ অসমৰ নতুন প্ৰজন্মৰ শিল্পী গঢ়ি তোলা আৰু পৰিৱেশ্য কলাৰ বিকাশৰ উদ্দেশ্যে স্থাপন কৰা হৈছিল। এইবাৰৰ প্ৰতিষ্ঠা দিৱসে এক বিশেষ আৱেগ বহন কৰিছিল। ভগ্নীৰ সপোনটোৱে পোখা মেলি ১৪টা বছৰ গৰকা অনুষ্ঠানটো উদযাপন কৰিবলৈ এইবাৰ কায়িকভাৱে জুবিন যদিও উপস্থিত নাছিল, তথাপি প্ৰতিখন নাট, প্ৰতিটো সুৰ আৰু প্ৰতিটো মুহূৰ্তত তেওঁৰ সৃষ্টিশীল দৃষ্টিভংগী আৰু অনুপ্ৰেৰণাৰ উপস্থিতি অনুভৱ কৰা গৈছিল। অনুষ্ঠানটোৱে তেওঁৰ চিৰস্মৰণীয় অৱদান আৰু অসমৰ সাংস্কৃতিক জগতলৈ আগবঢ়োৱা তেওঁৰ অপৰিসীম দায়বদ্ধতাক শ্ৰদ্ধাৰে সোঁৱৰাই এক আন্তৰিক শ্ৰদ্ধাঞ্জলি জনায়।

Barun Sarma-The silent devotee of Vyas Ojapali

Assam’s folk culture is not merely a relic of the past; it is a vibrant, living stream of our spiritual and social existence. Notably, an inimitable and vital component of this rich folk culture is the Vyas Ojapali (also known as Vyah-Gowa Ojapali) of the Darrang district. One of Assam’s oldest folk cultures, Vyas Ojapali is far more than a traditional dance or musical performance; it is a priceless folk heritage deeply woven into the state’s spiritual, literary, and social fabric. For decades, this art form has propagated religious epics like the Ramayana, Mahabharata and Bhagavata to the masses through a captivating blend of music, drama, and storytelling. It stands as an unbroken, continuous pursuit of wisdom within Assamese society.

To keep any timeless art form alive, it requires the sacrifice and lifelong devotion of dedicated practitioners. Among the artistes who have carried the grand heritage of Vyas Ojapali in their very blood and breath, dedicating their entire lives to its preservation, the name of Barun Dev Sarma stands out as truly exemplary. Hailing from No. 2 Ghorasal, a rural residential locality and village within the Sipajhar revenue circle of Darrang district, Sarma views Vyas Ojapali neither as a mere profession nor a livelihood; to him, it is a hereditary, spiritual pursuit of the soul.

Barun Sarma with the first female Ojapali group

The family of veteran Vyas Sangeet artiste Barun Dev Sarma has been deeply intertwined with the practice of Vyas Oja for generations. His grandfather, father, and Sarma himself have tirelessly nurtured this heritage, proving that folk art is not merely an expression of individual talent, but a holistic cultural heritage carried by the soul of a community. In this arduous journey, dedicated artistes like Gokul Sarma and teacher Jiten Sarma have equally devoted themselves, preserving the distinct identity of Darrang’s Vyas Oja. Their unwavering commitment continues to safeguard this profound tradition from losing its way.

For generations, societal prejudices and superstitions kept women from performing on the Vyas Oja stage. However, true visionaries have the power to break through the darkness of outdated traditions. Barun Dev Sarma took that historic and courageous step. Through his singular efforts, guidance, and inspiration, the very first all-female Ojapali troupe in Assam’s cultural history, comprising nine young women, officially debuted as the “Maa Parijati Byasini Ojapali Dal” on July 20, 2023. Mentored by Barun Dev Sarma, a lifelong practitioner of Vyas Oja hailing from Byaspara, Sipajhar, this troupe of young women has successfully navigated the path of transformation while overcoming societal hurdles. Initially, they faced a fierce storm of societal backlash, criticism, and objections, which regrettably led three young women to leave the group. Yet, Barun Dev Sarma remained completely unfazed in his resolve. Embracing the profound belief that folk culture is not the exclusive domain of any particular gender or class, but rather the fundamental right to self-expression and cultural identity for every individual, he empowered women artistes by providing them with continuous training and stage exposure, thereby fostering a progressive new mindset.

Led by Oja Upasana Sarma, the group currently features Jina Priyam Sarma as the Dainapali, with Jyotismita Sarma, Torali Sarma, Kavyashree Sarma, and Dharitri Sarma dedicatedly serving as the Palis. Defying all odds, this all-women Vyas Ojapali troupe began its journey at the Durga Puja mandap in Byaspara and has since earned widespread popularity and immense respect by performing across various parts of the state. Last year, the group won accolades in the Folk Music (Vyas Oja category) at the State Kala Sangam held at Srimanta Sankaradeva Kalakshetra. Adding to their achievements, they were also selected to perform Vyas Ojapali at the prestigious National Kala Utsav held in Pune last December. Their achievement clearly proves that with the right opportunities and proper guidance, women can carry forward our ancient traditions with equal grace and glory. Today, Barun Dev Sarma is no longer just a traditional Oja or performer; he has established himself as a dedicated custodian, teacher, and devoted practitioner of the Vyas Oja tradition. His generational legacy, cultural leadership, and relentless efforts to guide the younger generation are steering this invaluable Assamese folk culture toward a bright and empowered future.

পত্নীৰ সৈতে ব্যাসৰ ওজা বৰুণ শৰ্মা

সমাজৰ বাধা নেওচি ৰূপান্তৰৰ বাটেৰে আগুৱাইছে এদল যুৱতী। লোক সংগীতৰ প্ৰৱহমান ধাৰাক আগুৱাই নিয়াৰ নিৰবচ্ছিন্ন সাধনাত ব্ৰতী হৈছে ছয় যুৱতীৰে গঠিত এটি দল। দৰঙৰ বিখ্যাত লোকসংগীত ‘ব্যাস ওজা’ৰ চৰ্চাত তেওঁলোকে ৰচিছে নতুন অধ্যায়। আগবাঢ়িছে অসাধ্য সাধনৰ দিশে। ন-ইতিহাস ৰচনাৰে যুৱতীৰ দলটোৱে গঢ় দিছে ‘মা পাৰিজাতী ব্যাসিনী ওজাপালি’ শীৰ্ষক এটা ব্যাস ওজাপালিৰ দল। ছিপাঝাৰৰ ব্যাসপাৰাত পোন প্ৰথমবাৰ বাবে গঢ়ি উঠা যুৱতীৰ এই ব্যাস ওজাপালি দলটোৱে কঢ়িয়াইছে আশাৰ বতৰা।

ব্যাস ওজাৰ আজন্ম সাধক ব্যাসপাৰাৰ বৰুণ দেৱশৰ্মাৰ তত্ত্বাৱধানত সমাজৰ বাধা-নিষেধ নেওচি আগবাঢ়িছে দলটো। প্ৰতিষ্ঠাৰ দুবছৰৰ ভিতৰত সীমাৰ পৰিধি ভাঙি সুনাম অৰ্জিছে ছোৱালীৰ ব্যাস ওজাৰ দলটোৱে। লক্ষণীয়ভাৱে অসমৰ চহকী লোক-সংস্কৃতিৰ এটি অনবদ্য উপাদান ব্যাস ওজা। যুগ যুগ ধৰি দৰংৰ এচাম প্ৰচাৰবিমুখ শিল্পীৰ নিৰবচ্ছিন্ন সাধনাই জীয়াই ৰাখিছে ব্যাস ওজাপালি। পৰম্পৰা ৰক্ষা কৰি ছিপাঝাৰৰ ব্যাসপাৰাৰ সমীপৰ একাংশ নীৰৱ সাধকে যুগ যুগ ধৰি কৰি আহিছে ব্যাস ওজাৰ সাধনা। কঠিন জীৱন সংগ্ৰামৰ মাজত লোকসংগীতৰ এই সাধকসকলে দশকৰ পিছত দশক ধৰি অব্যাহত ৰাখিছে ব্যাস ওজাপালিৰ সাধনা। জীৱনৰ ঘাত-প্ৰতিঘাতক নেওচি প্ৰাণপণে পূৰ্বপুৰুযে দি যোৱা শিল্পকৰ্মক জীয়াই ৰাখিবলৈ অব্যাহত ৰাহিছে আপ্ৰাণ চেষ্টা।

ব্যাসৰ ওজাপালিৰ নীৰৱ সাধক বৰুণ শৰ্মা

চামে চামে এই লোক-সংস্কৃতিক আগুৱাই নিবলৈ ওলাই আহিছে এদল নৱপ্ৰজন্মৰ প্ৰতিনিধি। তেওঁলোকক প্ৰশিক্ষণ দি সঠিক দিশত আগুৱাই নিবলৈ চেষ্টা অব্যাহত ৰাহিছে এচাম জ্যেষ্ঠ শিল্পীয়ে। তাৰ ভিতৰত অন্যতম হিচাপে বিবেচিত হৈছে ব্যাসপাৰাৰ ২নং ঘোঁৰাশাল গাঁৱৰ ব্যাস সংগীতৰ আজন্ম শিল্পী বৰুণ শৰ্মা। ব্যাস সংগীতৰ এগৰাকী সুনিপুণ ধাৰক-বাহক হিচাপে পৰিচিত বৰুণ শৰ্মাই প্ৰায় দুবছৰ পূৰ্বে আগবঢ়িল এক ব্যতিক্ৰম পদক্ষেপৰ দিশে। ল’ৰাৰ সমান্তৰালকৈ ছোৱালীক ব্যাস সংগীতৰ প্ৰশিক্ষণ দি এক নজিৰ সৃষ্টিৰ বাবে তেওঁ উঠিপৰি লাগিল। কিন্তু সমাজৰ একাংশ লোক তেওঁৰ এই কাৰ্যত হেঙাৰ হিচাপে থিয় দিলে। যুগ যুগ ধৰি চলি অহা ব্যাস সংগীতৰ সাধনা ছোৱালীয়ে কোনো কাৰণতে কৰিব নোৱাৰে বুলি সমাজৰ এইসকল তথাকথিত সজাগ ব্যক্তিয়ে ঘোষণা কৰিলে। এই সন্দৰ্ভত তেওঁলোকে দিলে বহু যুক্তি। কিন্তু বৰুণ শৰ্মা আৰু তেওঁৰ কেইবাজনো সহযোগীয়ে মহিলাৰ ব্যাস ওজাপালিৰ সমৰ্থনত থিয় হ’ল। যুক্তি দিলে যে যদি গোসাঁনীক কেন্দ্ৰ কৰি ব্যাস সংগীতৰ সৃষ্টি হৈছে, প্ৰচলন হৈ আছে, তেনেস্থলত মহিলাই ব্যাস সংগীতৰ সাধনাত অসুবিধা ক’ত। পালি গকুল ডেকাক লগত লৈ তেওঁ ব্যাস সংগীতৰ প্ৰশিক্ষণ প্ৰদানৰ বাবে বাছি উলিয়ালে মুঠ ৯ গৰাকী কিশোৰী-যুৱতী। ২০২৩ চনৰ ২০ জুলাইত আনুষ্ঠানিকভাৱে আৰম্ভ হ’ল ব্যাস ওজাৰ প্ৰথমটো যুৱতীৰ দল। সামাজিক বাধা, অন্ধবিশ্বাসক নেওচি প্ৰগতিশীল মানসিকতাৰ অভিভাৱকসকলে ব্যাস সংগীতৰ সাধনাৰ বাবে আগুৱাই দিলে নিজৰ কন্যাক। তাৰ মাজত বহু বাধা-বিঘিনিৰ সন্মুখীন হ’ল দলটো। বহু অপপ্ৰচাৰ, কুৎসাঁই দলটোৰ মাজত সৃষ্টি কৰিলে ধুমুহা। তাৰ বিপৰীতে সমাজৰ এচাম প্ৰগতিশীল, সংস্কৃতিপ্ৰেমী লোকে গকুল শৰ্মা আৰু যুৱতীকেইগৰাকীক সাহস প্ৰদান কৰিলে। উৎসাহ দি আগুৱাই নিবলৈ চেষ্টা কৰিলে।

প্ৰথম মহিলা ওজাপালি দলৰ সৈতে প্ৰশিক্ষক বৰুণ শৰ্মা।

সোঁতৰ বিপৰীতে গৈ এটা সময়ত ছগৰাকী যুৱতীৰ দলটোৱে লাভ কৰিলে প্ৰতিষ্ঠা। বিভিন্ন কাৰণত প্ৰথম অৱস্থাত তিনিগৰাকী যুৱতী দলটোৰ পৰা আঁতৰি গ’ল যদিও আজিও সাধনাত ব্ৰতী হৈ আছে এই ছগৰাকী গাভৰু। ওজা উপাসনা শৰ্মাৰ নেতৃত্বত দলটোত ডাইনাপালি হিচাপে আছে জীনাপ্ৰিয়ম শৰ্মা। পালি হিচাপে সাধনা অব্যাহত ৰাখিছে জ্যোতিস্মিতা শৰ্মা, তৰালি শৰ্মা, কাব্যশ্ৰী শৰ্মা আৰু ধৰিত্ৰী শৰ্মা। সকলো বাধা নেওচি ব্যাসপাৰাৰ দুৰ্গাঁ পূজাৰ মণ্ডপৰ পৰাই আৰম্ভ হৈছিল ছোৱালীৰ ওজাপালি দলটোৰ লোকসংগীতৰ অনুষ্ঠান। বিগত বৰ্ষত দলটোৱে শ্রীমন্ত শংকৰদেৱ কলাক্ষেত্ৰত ৰাজ্যিক কলা সংগমত জন্মগ্ৰহণ কৰি লোক সংগীতৰ ‘ব্যাস ওজা’ৰ শাখাত সন্মান বুটলিবলৈ সক্ষম হয়। কেৱল সেয়ে নহয়, বিগত বৰ্ষৰ ডিচেম্বৰত পুনেত অনুষ্ঠিত ৰাষ্টীয় কলা সংগমলৈ নিৰ্বাচিত হৈ ছোৱালীৰ ওজাপালিৰ দলটোৱে প্ৰদৰ্শন কৰে ব্যাস ওজাপালি। সোঁতৰ বিপৰীতে গৈ সম্প্ৰতি কেৱল দৰঙতে নহয়, সমগ্ৰ অসমতে চৰ্চিত হৈ পৰিছে ব্যাস ওজাপালিৰ এই দলটো। এক কথাত ক’বলৈ গ’লে ২০২৩ চনত ব্যাস সংগীতৰ ক্ষেত্ৰখনত আৰম্ভ হোৱা এই বিপ্লৱে সম্প্ৰতি সীমাৰ পৰিধি ভাঙি বিলাবলে আৰম্ভ কৰিছে লোক-সংস্কৃতিৰ অনাবিল সুবাস।

Following two enchanting evenings that showcased the diversity, discipline and timeless beauty of Indian classical dance, the India International Dance Festival (IIDF) Guwahati 2026 successfully concluded at the Kanaklal Barua Auditorium within the Assam State Museum, Ambari, recently.

“Celebrating Dance Sans Division” — this was the unifying theme that brought together over 100 eminent artistes and young practitioners from across India. Co-presented by Samskritiki, Bhubaneswar, and Darpan Dance Akademi, Guwahati, the festival was guided by the shared vision of Festival Founder Sri Shyamhari Chakra and Festival Director Dr. Anjana Moyee Saikia, a celebrated Odissi and Sattriya dancer.

The India International Dance Festival (IIDF) wove five distinguished classical heritages—Bharatanatyam, Odissi, Kathak, Manipuri, and Sattriya—into a breathtaking tapestry of movement. Through evocative solos, intimate duets, and sweeping group choreographies, the festival masterfully celebrated the timeless grace and profound storytelling of India’s cultural traditions.

The inaugural evening was officially opened by Chief Guest Shri Bipul Chandra Das, an eminent Kathak exponent, veteran Guru, and recipient of the Sangeet Natak Akademi Award. The occasion was further graced by senior Manipuri exponent Guru L. Karuna Devi and other esteemed dignitaries, including distinguished Sattriya exponent Smt. Anita Sharma, Director of Sattriya Kendra (SNA) Smt. Pratibha Sharma, and Guru Tatini Das.

An esteemed jury evaluated the performances, featuring the distinguished artistry of Sri Vijay Srivastava (Kathak), Smt. Upasana Mahanta Gogoi (Bharatanatyam), Smt. Ankita Kulabhi (Odissi), and Smt. Meernanda Barthakur (Sattriya).

The festival was also graced by the esteemed presence of several eminent dance practitioners, including Nibedita Tarafdar (Bharatanatyam), Smt. Moromi Medhi (Kathak), Smt. Aligunjan Mudiar (Kathak), and Shri Rakesh Mandal (Kathak). Other distinguished dignitaries in attendance included Smt. Madhurima Barua Sen (IAS), Former Commissioner & Secretary to the Govt. of Assam; Sri Moinul Haque, eminent Mime Artiste; and Smt. Robijita Gogoi, celebrated Theatre personality.

Across the two evenings, the auditorium was transformed into a living canvas of divine devotion. The program unfolded with the rhythmic precision of Bharatanatyam; its sharp, crystalline geometry and expressive abhinaya wove ancient, temple-rooted narratives into visible poetry. Kathak then graced the space with a cascade of intricate footwork, ethereal spins, and commanding rhythmic tapestries, where the ghungroos resonated as vital percussive voices in their own right. Finally, Odissi emerged to enchant the senses, its lyrical, sculptural postures and iconic Tribhangi stance breathing life into the magnificent temple heritage of Odisha.

Manipuri and Sattriya gracefully elevated the festival with a lyrical, meditative spirit, their flowing movements beautifully rooted in the Vaishnavite heritage of the Northeast. Together, the five dance forms wove a vibrant, breathtaking tapestry of movement, music, colour, and profound devotion.

A central highlight of IIDF 2026 was its radiant tribute to the timeless Guru-Shishya Parampara, with seasoned maestros gracing the stage alongside their disciples. The festival illuminated how these classical traditions are not merely performed, but are intimately preserved and passed down through a beautiful continuity of dedication, discipline, and shared wisdom across generations.

The traditional costumes transformed the auditorium into a moving canvas of India’s cultural diversity. Rich colours, shimmering silvers and golds, and mirrored embroidery heightened the visual splendour. Gajras, jingling anklets, painted eyes, and expressive mudras beautifully completed the breathtaking performance.

Celebrating the dawn of new artistry, the festival proudly presented the Future Face Award for IIDF 2025 Guwahati. This accolade honors emerging talent and beautifully reaffirms a lasting commitment to nurturing the next generation of Indian classical dancers.

The event was documented by official event photographers Arup Jyoti Kalita and Nilakshi Neog.

As the second evening drew to its close, IIDF Guwahati 2026 wove five distinct classical dance traditions into a single, breathtaking tapestry of rhythm and grace. More than a mere celebration of artistry, the festival beautifully affirmed that Indian classical dance is a vibrant, living heritage. It remains a breathing tradition that continues to evolve, inspire, and nurture its next generation of storytellers.

With its profound message of celebrating movement beyond all divisions, IIDF 2026 culminated as a breathtaking tribute to India’s rich cultural heritage and the unifying grace of dance.