Love’s Labour Lost, Dance Drama and an afternoon of reckoning

🖊️Anuska Bagchi

“Love is not love that alters

When it alteration finds…”

~William Shakespeare (Sonnet 116)

 

The commemoration of the 11th edition of the Kolkata Literature Festival on the 8th of February began with a spectacular celebration of culture, emotions, and the eternal essence of love. The festival opened with two enthralling dance performances by the students of Sister Nivedita University. The tonality and mood was that of grace and vivacity of movement. The first performance, a grand dance drama based on Sanjay Leela Bhansali's Bajirao Mastani, a forbidden love story of a Hindu Peshwa and a Muslim Rajput Princess, left the audience captivated with its sheer resplendence. The songs Gajanana, Albela Sajan, Mohe Rang Do Laal, Deewani Mastani, Aaj Ibaadat, and Aayat brought the epic tale alive. The performers moved with otherworldly grace, their expressions a bolster of emotions. It was as if words were spilling from their eyes onto the stage. What followed was thunderous applause that resonated through the venue as the performance concluded. Dance teams Rudrani and Euphorix did an amazing job at bringing the tale alive and making us feel emotions far beyond our capabilities with Bajirao and his Mastani.

Then came the nursing department of Sister Nivedita University. Their vibrant dance drama was titled 'Baro Mashe Tero Parbon', an ode to the endless cycle of Bengali festivals. It painted a delightful picture of a culture that seemingly never finds enough time to celebrate all its traditions, quite literally 13 festivals over 12 months of the year. Their performance was an echo of the ethos of Bengal. The style had a modern Rabindrik aesthetic and celebrated occasions like Rath Yatra, Jamai Shasthi, Manasa Puja, and Janmashtami, Shiv Ratri, Saraswati puja, you name it, they had it. Every movement radiated warmth, making the audience feel as if they were within their own homes, witnessing the timeless traditions of Bengali households unfold before them. You could almost smell the wheat harvest, feel the winter breeze on your face and taste the nolen gur upon your tongue during makar sankranti, a grand affair indeed.

As the energy of the performances settled, the festival transitioned into an engaging panel discussion that left the audience in splits while delving into the depths of human emotions. The topic wasn't anything esoteric or out of the norm, it involved the common man and simply read “Is love only in books, poetry, and movies, or does it exist in real life too?”. The afternoon was charmed by a combination of wit, philosophy, and lyrical musings. 

The panelists —Prachet Gupta, Srijato Bandyopadhyay, Saptak Sanai Das, Arpita Sarkar, and Tanmoy Chakraborty, each brought their own perspectives to the table, weaving a conversation that swung between humor and profound truths.

Moderator Tanmoy Chakraborty played the skeptic. Engaging both the audience and the panel in some hilarious but contemplative questions. Some questions had the crowd guffawing with laughter while the others left them speechless, wondering why a thought such as that had never occurred to them. 

Arpita Sarkar, known for her gripping thrillers, admitted that while she primarily writes mysteries, she is an ardent reader of love stories. She spoke of how the Vaishnav tradition introduced Indians to the concepts of prem and anubhuti, however, Bengalis can trace the roots of romance in literature back to Rabindranath Tagore. Playfully, she remarked that “Victoria chara prem hoy na,” (love is incomplete without Victoria Memorial) a phrase that had the audience chuckling. The humor continued when she urged the audience to seize the occasion—it was Propose Day, after all, and what better time to confess love than during a discussion about it?

Srijato Bandyopadhyay, with his characteristic wit, reflected on the omnipresence of love in literature. He mused that love sells like nothing else, the TRP of romance always at its peak. “We are alive because of love,” he stated, adding that human existence itself is proof that love persists. People come and go, but as long as the earth remains, so does love. Moderator Tanmoy Chakraborty, however, countered that love is not always secure, an argument that led to a playful exchange with Arpita, who insisted that love, in its truest form, provides security.

Mr. Chakraborty questioned why pain had to be an intrinsic part of love. Mrs. Sarkar however countered with quiet conviction—if love was too easy, it would never be cherished the way it is. The audience remained quite spellbound by this war of words. They watched with rapt attention as perspectives clashed and harmonized, each argument adding another layer to the enigma of love.

Prachet Gupta, with his dry humor, admitted that he has never quite succeeded in writing a love story. Every attempt, he claimed, ended in tragedy, much to the dismay of his readers, who have even tried to return his books. Love, he pointed out, is not confined to humans alone—it exists everywhere, shaping every relationship. “The police love the thief, the thief loves the businessman, the businessman loves money, poets love creativity, creativity loves authors, and writers love royalty,” he quipped, leaving the audience in stitches.

Saptak Sanai Das took a musical approach to the subject, reminiscing about how love has evolved with technology. Born in the ’90s, he had witnessed both eras—love before and after mobile phones. In a beautiful transition from words to melody, he sang Ek Palak E Ektu Dekha, evoking nostalgia for a time when love letters and stolen glances were the norm. The journey of romance through the evolution of technology found its way into the discussion, as he pointed out how night calls and texts changed the landscape of modern relationships. He followed this with Bandhu Bhabi, a song that perfectly encapsulated the shifting expressions of love across generations. Mr. Das is a new father, and his recent experience has taught him to approach love with a more all encompassing fervor than the rest.

The conversation took on a poetic turn when Srijato recited from his book, describing a lover with unkempt hair and an untamed spirit. He remarked that every crime might be committed in broad daylight, but expressing love through a kiss remains forbidden in public spaces. Arpita offered another perspective, likening relationships to utensils—daily use leaves scratches, but those very imperfections make them real. According to her, distance is sometimes necessary to keep love alive. Prachet Gupta supported the sentiment, comparing love to a rose that comes with its thorns. Pain is inevitable, he argued, but it is struggle that makes love worthwhile. “If you don’t jump into it, what’s the point?” he asked.

Saptak Sanai Das once again took to song, his voice carrying the emotions of the evening through Bhalobashar Gaan. “The days will change so easily when I’m holding your hands,” he sang, seemingly lost in the sentiment himself. Srijato recited another poem upon audience insistence, Agunrupa Ke, his words leaving the room feeling lighter yet heavy at the same time. Prachet Gupta, unable to resist a lighthearted jab, teased him about reciting only childhood favorites. The exchange ended on an amusing note when Mr. Gupta revealed that he needed to leave—to meet his lover, his wife—drawing laughter from the audience.

As the evening drew to a close, Mr. Chakraborty recited a poem titled Love Signs, adding a final poetic touch to the discussion. The atmosphere turned melancholic yet beautiful when Saptak Sanai Das performed Roder Nishana, an original composition, followed by Cinderella Mon. The audience swayed to his melodies.

The panel began with dance, ended with music, and in between, had unfolded a discussion that was as much a celebration of love as it was an exploration of its complexities. It was a reminder that whether in literature, poetry, or real life, love remains the most enduring, most captivating, and most universal of all emotions.