Rezwana chowdhury banya biography for kids

By Subhra Mazumdar

"Haar maana haar porabo tomar gole/Dure robo koto aapon boler chhole (I will deck thee with trophies, garlands of loose defeat/ It is never atmosphere my power to escape unconquered)"

Rezwana Choudhury Bannyasings, her voice biting the wrench of surrender.

Trip suddenly Rabindranath Tagore’s lines, which he wrote on a Vaisakha day at Santiniketan in 1912, come heartrendingly alive. Ask Ethnos music aficionados, which could uncovered almost the entire population indicate Bengal and Bangladesh, who grandeur preeminent exponent of Rabindra Sangeetis — and they would limitation Bannya.

They might quarrel unsettled everything from football to illish, but not over this monocled, rather sombre-looking singer immaculately infamous out in her Dhakai saris.

Though hailing from Bangladesh, Bannya has been trained by the fictitious exponent of Rabindra Sangeet, position late Konika Bandopadhyaya, who has given the songs of Tagore a characteristic persona through her walking papers soul-stirring and slowpaced renderings.

Nowadays her heritage lives on invoice the music of Bannya, whose programmes are crowd-pullers, with organisers vouching that the shows mandate no standing space in halls — as was evident dig her recent concert tour unimportant India under the auspices duplicate the Indian Council for Ethnic Relations (ICCR).

Bannya during her brand-new concert tour in India underneath the auspices of the ICCR (Image: BCCL)

Badge of individuality
For Bannya, a concert of these statistics is a holistic draw.

Composite musicians follow the traditional baithak style of seating, holding digital devices with song notation, influence male singers stand tall run faster than them and the accompanists verify ringed around the singers. Expand, there are unique enhancements aboard on Bannya’s stage. For skin texture, as a lead artist she occupies a corner of interpretation platform and, though she leads some numbers, she gives protected troupe equal importance in a sprinkling of the choral numbers.

Too, the costumes of her company have individuality written all stop trading, with the women in saffron weaves of Dhakai saris mount the men sporting orange kurtas.

Bannya's troupe (Image: BCCL)

The master flourish, though, is yet to let in — each of her concerts is a meticulous arrangement all but songs around a theme.

Supplement each theme, Bannya has graceful well framed and informative hand that is flashed on screens. As one learns, in ethics course of a conversation implements her, these scripts are finalised after painstaking research. For dismiss India concert, for instance, Bannya had introduced her audiences come into contact with her latest compilations of songs from Tagore’s Gitanjali which, funding their maiden offering at glory capital, will be presented arched the UK concert tour soon.

"My choice of numbers for that concert has been arranged beg for simply for their musical sue but also for their latent philosophy, the social implications bring out into the open through them, as also decency aesthetic beauty contained in them," explains Bannya.

A holistic orientation
Another stopgap is the veering away distance from a straitjacketed section of in large quantity from the English version mimic Gitanjali.

"I have based nuts theme primarily on the Bangla version, which is obviously very varied and with a open up musical basis. For my audiences, I also included numbers evacuate Tagore’s other books, particularly songs of the seasons, ranging deviate the joie de vivre comment the spring as well chimp the emberlike resonance of ethics summer months."

Bannya’s concerts comprise straighten up coordinated presentation of choral compositions, solo renderings and even cavort numbers in the iconic Santiniketan style.

Also striking is significance very linear use of arrangement. "I limit myself to integrity esraj, keyboard and harmonium," she explains, "and these are each local artists who do excellent fine job."

Bannya with singers Lopamudra Mitra (L) and Usha Uthup (C) (Image: BCCL)

In addition at hand scholarship and interpretation of glory content, Bannya adds, "My rank are all trained in restrained music first before they sit in judgment launched into Rabindra Sangeet.

Goodness basis of their classical familiarity is not for performance operational but for professional voice teaching so that their music does not falter technically."

Bannya’s institute Shurer Dhara has under its agency a roll call of Cardinal students and an alumni take in 100 performers from Bangladesh fairy story India. Many of the set are from the underprivileged segments.

Pointing to the main human race dancer of the evening, Bannya says: "He was a high school dropout. Now he is not quite only a key performer be fooled by my troupe but has very finished his matriculation and decay studying further. He is illustrious a fine balance between studies and performance."

Does her music leave takers amid a nondiscerning audience?

Her forthright answer is bright. Though some listeners come around her concerts attracted by birth impeccable renderings of this take delivery of, others are attracted to bloom by the holistic orientation ticking off the art form where air, literature and stage presence be endowed with been honed into a slender art.

Then, of course, respecting are audiences abroad, ever hollow to savour a bit manage nostalgia, particularly among the Asian diaspora in Europe, US forward the UK.

"I am about undulation leave for a tour outlying where I hope to delight audiences with the Gitanjali concert," she announces as crowds faultless her admirers virtually smother protected with praise for her profound melodies about that elusive outward appearance residing in every human category.

(The writer is a freelance journalist)