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.

Veteran Assamese actress Purabi Sarma died in Guwahati on Tuesday evening following a cardiac arrest. She was taken to a private hospital, where doctors declared her dead, and she was pronounced deceased at around 7:30 pm. A well-known name in Assamese cinema and theatre, Purabi Sarma was celebrated for her graceful performances and her decades-long association with the state’s entertainment industry. She began her film career with Ajoli Nabou, and her debut movie Ragini later won a National Award. Over the years, she appeared in several notable Assamese films, including Kanyadaan, Son Moina, Bidhata, Nayak, Ringa Ringa Mon and Porobhat (2022). She also featured in the television serial Gateway (2006) and was highly active in Assamese mobile theatre, demonstrating her versatility across multiple platforms. Purabi Sarma worked alongside many prominent figures in Assamese cinema, including Kulada Kumar Bhattacharya, and remained a regular presence in the industry for decades. She attended major cultural events such as the Filmfare Awards Assamese and the Prag Cine Awards, and also appeared with Zubeen Garg in the romantic music video Jua Bosore. She is survived by her husband, noted actor, writer and director Tapan Das. The couple was respected across the Assamese film fraternity for their lasting contribution to the arts and their long-standing creative partnership.

Born on Valentine’s Day in 1939 in the serene village of Gangmouthan in the erstwhile Darrang district (now Biswanath district), Geeta was more than just an author-she was a beacon for aspiring writers, educators, and social reformers. Scion of a distinguished family, her lineage intertwined with notable figures like her grandfather, freedom fighter and social reformer Shabilal Upadhyay, speaks volumes about her legacy. Her father, Tonkanath Upadhyay, further enriched this narrative, underscoring a lineage steeped in societal impact and intellectual pursuit.

Geeta’s journey was marked by pioneering steps; she became the first woman in the Gorkha community to earn a postgraduate degree in Political Science, a feat that resonated with similar aspirants across the region. She guided countless students as an educator, imparting both knowledge and the profound values of literature, while her translation works-bridging Assamese and Nepali literature-established an enduring dialogue between cultures.

An exemplary literary artist, Geeta Upadhyay’s oeuvre includes her remarkable translations of “The Diary of Anne Frank,” the celebrated novel “Janmabhumi Mero Swadesh,” and her poignant autobiography, “Jiwanlai Pharkera Herda.” Each work is a testament to her versatility, showcasing her ability to convey deep emotional nuances while making monumental literary contributions.

But it was not just her literary accolades that defined her; she was a formidable force in social leadership too. As the founding chairperson of the Indian Gorkha Association, Geeta synthesized literature with social advocacy, crafting a narrative that aimed to safeguard the constitutional rights and identity of the Gorkha community. Her vision went beyond mere existence; it was about thriving and contributing to a multicultural society, all while maintaining a firm grip on heritage and dignity.

Her contributions did not go unrecognized. In 2016, the Sahitya Akademi honored her with a prestigious award, and in 2025, the government of India conferred upon her the Padma Shri, the fourth highest civilian award-an acknowledgment not just of her literary prowess but of her unwavering commitment to societal upliftment.

As we reflect on her life, we witness the outpouring of grief from across various strata of society, including heartfelt condolences from Assam’s Chief Minister, Dr. Himanta Biswa Sarma, and the Indian Gorkha Association. Her absence is felt deeply, echoing through the halls of academia, literature, and the communities she adored.

Geeta Upadhyay’s legacy will undoubtedly live on in the hearts of those she inspired, and her words will continue to whisper in the winds of Assam for generations to come. This loss is not merely personal; it’s collective, reminding us that even legends must eventually sleep. But let us celebrate her life-the author, the educator, the leader-who blended passion with purpose and imbibed her work with an undeniable spirit of hope and resilience. As the curtains draw on her glorious life, we salute Geeta Upadhyay: may her thoughts roam freely across the realms of literature, forever illuminating the paths of those who dare to dream.

In the heart of Mysuru, the curtains have fallen on the illustrious career of a true luminary of Indian music. On July 11, 2026, the beloved playback singer S. Janaki, a voice that echoed through the corridors of countless hearts and cinema halls, bid adieu to the world. She left us at the age of 88, her spirit enveloped in the affection of her family, leaving behind a legacy that resonates like her timeless melodies.

Janaki was admitted to Apollo Hospital in Mysuru early that Saturday morning; a frail voice that had once serenaded millions now faced formidable health challenges. Despite the relentless efforts of the medical team, her star dimmed in the evening, succumbing to a cardiac arrest. Family sources revealed that she had recently been residing in Bogadi, a serene locale that now echoes with memories of her vibrant spirit.

As news of her passing spread, the music fraternity and fans alike were plunged into mourning. Janaki’s granddaughter, Apsara Vydyula, took to social media to express her emotions, a heartfelt post that stirred our collective soul: “She left us peacefully, surrounded by the love of her family. While our hearts are heavy, we are also filled with gratitude for the extraordinary life she lived and the immeasurable joy she brought to millions through her timeless music.” Apsara’s words beautifully captured Janaki both as an iconic voice on the silver screen and a nurturing grandmother who filled lives with warmth and grace-a duality that encapsulated her essence.

Known as the “Nightingale of India,” Janaki’s vocal prowess knew no bounds. Over a prolific career that spanned six dazzling decades, she recorded an astounding 48,000 songs across various languages, primarily in the South Indian linguistic tapestry of Kannada, Tamil, Telugu, and Malayalam, while also weaving her magic in Hindi, Urdu, Punjabi, and even Bengali. The sheer versatility of her voice seemed almost otherworldly, effortlessly transitioning through varied genres and styles-from traditional folk to contemporary hits, each note tinged with her unique emotive touch.

Her ascent in the industry was no mere stroke of luck; it was a testament to relentless hard work, talent, and perhaps a touch of divine intervention. She sang for legendary composers, her melodies wrapping themselves around the narratives of films like a comforting hug. From superhits to regional classics, her songs became the soundtrack of many lives, encapsulating the dreams, sorrows, and aspirations of people.

While channels of nostalgia now flood with her greatest hits, the real essence of S. Janaki lies deeper than just her discography. It is found in the way her music has woven into the very fabric of our memories-each song a pearl in a necklace strung with stories of love, loss, and celebration. Like an artist adding the final strokes to a masterpiece, she created timeless works that will linger long after her departure.

As we close this chapter in the saga of Indian music, let us remember S. Janaki not merely as a singer but as a formidable force, a woman who transformed the very landscape of playback singing. Her legacy is immortalized not just in her songs but in the hearts she touched, the dreams she inspired, and the music that will echo long into the future. As the sun sets on this celestial songbird, we are left with melodies that will forever remain a part of us, resonating through time-a lasting tribute to an unparalleled artist.

As the lights dim and the screen flickers to life, audiences across India are diving headfirst into the high-octane world of Alpha, the latest offering from the illustrious Yash Raj Films (YRF). Released amidst a whirlwind of anticipation on July 3, 2026, this spy thriller brings a refreshing twist to the genre, not just with its gripping narrative but also with its formidable all-female lead duo—Alia Bhatt and Sharvari Wagh.

The buzz around Alpha has been palpable; after all, how often do we get to see two powerhouse women take center stage as elite spies? As the film enters its second weekend in theatres, let’s unpack its box office trajectory.

Day 9 Box Office: A Tantalizing Turnaround?

On Day 9, Alpha has managed to claw its way to a respectable ₹2.25 crore across 2,883 shows, showing a slight uptick from the previous day. Although it feels like a whisper amid the thunderous expectations set during its opening week, any increase is worth noting in this competitive landscape.

Alpha opened with a bang, amassing an impressive ₹47.45 crore during its first week, and with a cumulative India gross of ₹61.21 crore and a net collection of ₹51.35 crore as of now, it’s clear this film has struck a chord-albeit gently-with audiences. Not to forget the overseas numbers: a gracious ₹3.70 crore brings its global tally to an eye-catching ₹85.71 crore.

A Look at the Day-Wise Breakdown

Curious about how Alpha has fared since that highly anticipated premiere? Here’s a peek into its day-wise box office achievements:

• Day 1 (1st Friday): ₹9.25 crore
• Day 2 (1st Saturday): ₹11.50 crore
• Day 3 (1st Sunday): ₹13.25 crore
• Day 4 (1st Monday): ₹3.85 crore
• Day 5 (1st Tuesday): ₹4.25 crore
• Day 6 (1st Wednesday): ₹2.85 crore
• Day 7 (1st Thursday): (not provided but assumed to be in line with trend)
• Day 8 (2nd Friday): ₹1.65 crore
• Day 9 (2nd Saturday): ₹2.25 crore

What Makes Alpha Tick?

Directed by Shiv Rawail, Alpha isn’t just another installment in YRF’s renowned spy universe; it’s a first of its kind-an espionage film led by women. Alia and Sharvari, embodying Sita and Durga respectively, come to life as relentless agents undertaking perilous missions that put their peaks of prowess to the test. Together they must confront the embodiment of treachery in their former mentor, played with spine-chilling finesse by Bobby Deol.

Filled with betrayals, nail-biting action, and palpable drama, Alpha dares to push the envelope while challenging the norms of traditional storytelling. It shines a spotlight on female resilience in a genre often dominated by male counterparts.

As the spy thrillers continue their reign in the cinematic world, Alpha is a testament to how we can paint the world of espionage in hues that are vibrant, nuanced, and daring. So, book your tickets now and prepare for a cinematic journey that promises excitement and intrigue-not just out there in the field, but right in the heart of the cinema! Keep your friends close and your popcorn closer; this is one spy thriller you won’t want to miss!

So, what do you say? Catch the intrigue and indulge in a night of thrilling espionage. Alpha is waiting for you in your nearest theatres; don’t let the mystery slip through your fingers!

অসমৰ সাংবাদিক, সম্পাদক, চলচ্চিত্ৰ সমালোচক আৰু সাহিত্য-অনুৰাগী উৎপল মেনাক “মিৰ্চি এক্সেলেন্স এৱাৰ্ডছ নৰ্থ ইষ্ট ২০২৬”-ত “মিৰ্চি স্পেচিয়েল এক্সেলেন্স ইন মিডিয়া এণ্ড লিটাৰেৰি কণ্ট্ৰিবিউশ্যন এৱাৰ্ড” প্ৰদান কৰা হয়, যোৱা ২৬ জুনত।
গুৱাহাটীৰ সোণাপুৰস্থিত মে’ফেয়াৰ ৰিজৰ্ট এণ্ড হোটেলত অনুষ্ঠিত এক গাম্ভীৰ্যপূৰ্ণ অনুষ্ঠানত উত্তৰ-পূৰ্বাঞ্চলৰ বিভিন্ন ক্ষেত্ৰৰ বিশিষ্ট ব্যক্তি, উদ্যোগী, শিল্পী, সমাজকৰ্মী আৰু সংবাদ মাধ্যমৰ প্ৰতিনিধিসকলৰ উপস্থিতিত এই সন্মান প্ৰদান কৰা হয়।

সন্মান আগবঢ়াই মিৰ্চি কৰ্তৃপক্ষই কয় যে সাংবাদিকতা, সম্পাদনা, চলচ্চিত্ৰ-সমালোচনা আৰু সাহিত্যচৰ্চাৰ ক্ষেত্ৰত উৎপল মেনাই আগবঢ়োৱা দীৰ্ঘদিনীয়া আৰু বহুমুখী অৱদানৰ স্বীকৃতি স্বৰূপে তেওঁক এই সন্মান প্ৰদান কৰা হৈছে। অনুসন্ধানমূলক দৃষ্টিভংগী, বিশ্লেষণধৰ্মী লেখনী আৰু দায়িত্বশীল সাংবাদিকতাৰ জৰিয়তে তেওঁ অসম তথা উত্তৰ-পূৰ্বাঞ্চলৰ বৌদ্ধিক আৰু সাংস্কৃতিক পৰিসৰত এক সুকীয়া স্থান গঢ়ি তুলিবলৈ সক্ষম হৈছে বুলিও উল্লেখ কৰা হয়।
আয়োজকসকলে লগতে উল্লেখ কৰে যে আঞ্চলিক ভাষাত গৱেষণাধৰ্মী লেখালেখি, চলচ্চিত্ৰ-সমালোচনা, সাহিত্য-আলোচনা, ইতিহাস, সংস্কৃতি, সংগীত আৰু সমাজ-বাস্তৱতাক কেন্দ্ৰ কৰি উৎপল মেনাই দীৰ্ঘদিন ধৰি আগবঢ়াই অহা বৌদ্ধিক সাধনাই নতুন প্ৰজন্মৰ লেখক, সাংবাদিক আৰু সংস্কৃতিপ্ৰেমীসকলক অনুপ্ৰাণিত কৰি আহিছে।

উল্লেখযোগ্য যে, মিৰ্চি (Mirchi) ভাৰতৰ অন্যতম বৃহৎ সংবাদ আৰু মনোৰঞ্জন গোট The Times Group-ৰ সহযোগী প্ৰতিষ্ঠান Entertainment Network (India) Limited (ENIL)-ৰ এক সুপৰিচিত ব্ৰেণ্ড। ৰেডিঅ’, ডিজিটেল মাধ্যম আৰু বিভিন্ন সামাজিক-সাংস্কৃতিক উদ্যোগৰ জৰিয়তে মিৰ্চিয়ে দেশজুৰি নিজৰ স্বকীয় পৰিচয় গঢ়ি তুলিছে। সেই দৃষ্টিকোণৰ পৰা উত্তৰ-পূৰ্বাঞ্চলৰ কৃতী ব্যক্তি আৰু প্ৰতিষ্ঠানসমূহক সন্মানিত কৰাৰ লক্ষ্যৰে আয়োজন কৰা মিৰ্চি এক্সেলেন্স এৱাৰ্ডছ নৰ্থ ইষ্ট অঞ্চলটোৰ সৃজনশীলতা, সামাজিক নেতৃত্ব আৰু বৌদ্ধিক কৃতিত্বক অধিক বিস্তৃত পৰিসৰত তুলি ধৰাৰ এক উল্লেখযোগ্য মঞ্চ হিচাপে বিবেচিত।

সন্মান গ্ৰহণ কৰাৰ পিছত উৎপল মেনাই আয়োজকসকলৰ প্ৰতি কৃতজ্ঞতা জ্ঞাপন কৰি কয় যে এই স্বীকৃতি কেৱল তেওঁৰ ব্যক্তিগত সাফল্য নহয়; ই অসমীয়া সাংবাদিকতা, সাহিত্যচৰ্চা আৰু চলচ্চিত্ৰ-সমালোচনাৰ ক্ষেত্ৰখনলৈ আগবঢ়োৱা এক সন্মান। এই স্বীকৃতিয়ে ভৱিষ্যতেও অধিক দায়িত্বশীলভাৱে সমাজ, সংস্কৃতি আৰু সাহিত্যৰ বিভিন্ন দিশত কাম কৰি যোৱাৰ প্ৰেৰণা যোগাব বুলি তেওঁ মত প্ৰকাশ কৰে।
উল্লেখ্য যে, আঞ্চলিক ভাষাত গৱেষণাধৰ্মী আৰু বিশ্লেষণমূলক লেখালেখিৰ পৰিসৰ সংকুচিত হৈ অহা সময়ত উৎপল মেনালৈ আগবঢ়োৱা এই সন্মানক বহুতে অসমীয়া ভাষাৰ বৌদ্ধিক চর্চা, সাংবাদিকতা আৰু সাহিত্য-সমালোচনাৰ প্ৰতি এক গুৰুত্বপূৰ্ণ স্বীকৃতি হিচাপে অভিহিত কৰিছে।