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Red Shoes and Resistance (R&D)

Concept - Prof. Fiona Macauley, University of Bradford

Choreography - Shambik Ghose and Mitul Sengupta

Partners- University of Bradford, Unify Festival, Kalasangam. 

Comments from Arts Connoisseurs and Audience

'Red Shoes Resistance was thought provoking and an engaging blend of storytelling, dance and truth! And to see this work in Bradford with its activist past reminds us all of the importance of all our voices in influencing change' - Mr. Mark Otto Hollander. Former Executive Director, Leeds 2023, Phoenix Dance Theatre, Unlimited Theatre, UK.

'Unbelievable, incredible informative piece of work , what an amazing way to tell the story , you and Sham created a mind bending piece of art' Ms. Sam Firth - SEMH Intervention officer, Attachment Leader, Green Meadows Academy. UK

'It was such a phenomenally thought provoking and emotive evening, with you so powerfully telling such important stories that must shape and continue to change history.' - Ms. Louise Chapman - Class Teacher, Green Meadows Academy. UK

'It was my very great pleasure to collaborate with Shambik and Mitul - I think we truly created something powerful together. - Prof. Fiona Macauley. Collaborator 


Review - Black Waters.

Choreography - Sharon Watson, Shambik Ghose, Mitul Sengupta

A Collaboration between Rhythmosaic and Phoenix Dance Theatre.

The Guardian

Sanjoy Roy

"Phoenix choreographer Sharon Watson worked alongside Shambik Ghose and Mitul Sengupta of Kolkata-based Rhythmosaic and two of their kathak dancers-  achieved fruitful confluence" 

Yorkshire Times  ⭐️⭐️⭐️⭐️

Richard Trinder, Editor 

"The choreography in Kala Pani showed the clear influence of Dr Mitul Sengupta, a director of Rhythmosaic Dance and a specialist in the classical kathak dance - one of the major forms of Indian classical dance. Often it was just the smallest gesture, but, like the Tabla in the soundtrack, it was so helpful in evoking India. 

Congratulations to artistic director Sharon Watson and the choreographers, costume and lighting designers for another clear illumination of our rich, shared cultural history. And my particular praise goes to the dancers for their obvious physical and emotional commitment to these difficult roles.  

Yorkshire Post, 4  ⭐️⭐️⭐️⭐️

"Incredibly moving, visceral and honest, the whole thing is, quite literally, breath-taking." 

The Review Hub  ⭐️⭐️⭐️⭐️

Taking inspiration from these events, Black Waters explores notions of place, worth and belonging through a fusion of contemporary and classical Indian Kathak dance. The work is an exciting, culturally relevant collaboration between Phoenix Dance Theatre and Indian dance company Rhythmosaic, allowing choreographers Sharon Watson, Shambik Ghose and Dr Mitul Sengupta to delve into their companies’ rich cultural history. The unique mix of Kathak and contemporary enables the work to quickly veer from beauty and fragility to wildness and agony. " 

Dancing Europe 

"Choreographed by trioka of dance makers, Sharon Watson, Shambik Ghose and Mitul Sengupta ...the overall aesthetic is Asian... and two guest dancers Prasanna Saikia and Prasun Banerjee, join Phoenix. Black Waters works on its own terms extremely well."

British Theatre Guide 

Peter Lathan 

"From the fluttering finger movements inspired by Indian Kathak dance, my reaction at the end of the first half was "wow" and the enthusiastic applause both then and at the end confirmed that I was not alone: intensely moving choreography, evocative music, superb dancing, and effective lighting and costumes- what more can you ask for? " British Theater Guide.

Blog -  BWJevons

"This is a thrilling and intense piece of dance theatre which is at once accessible as well as secretive and obscure. Watson works with Shambik Ghose and Dr Mitul Sengupta to create a compelling and immersive piece. Alongside this trio of choreographers is a creative team par excellence. "


Production - I illuminate and In The Moment (Double Bill)

COMMENTS FROM THOMAS.T.BROWN  dance journal/hkChair Emeritus at Hong Kong Dance Alliance

About Production I Illuminate and In The Moment, a collaboration between Rhythmosaic Sengupta Dance Company and MFA Students of The Hong Kong Academy For Performing Arts".  2018.

"I enjoyed so much your work tonight. Your dancing was riveting. I was enthralled from the moment you stepped onto the stage. You have such clarity in each movement, such strength and staccato that you contrast so beautifully with legato expression and gesture. Your story telling is so compelling, through arm and hand gestures, facial gesture and expression, and rhythmic foot work that I am totally engaged with it throughout the dance. And I am so very happy that Shambik has found such great success with you. Please extend my congratulations to him for his excellent work. Congratulations and thank you for a wonderful evening."

COMMENTS FROM JOSEPH VICTOR GONZALES, Professor, Department of Dance, The Hong Kong Academy For Performing Arts, 2018

Mitul Sengupta. You were magic!! Thanks to Rhythmosaic, Shambik and MFA dancers. We did this!! - Joseph Victor Gonzales.




Aravan - the desolate

"Ms. Sengupta’s traditional technique was surer, especially in the precision and counter rhythms of her footwork. Though her shapes blurred in rapid spins, her franticness was somewhat justified by the ancient story she depicted of a son sacrificing his life in war." New York Times "  - Traditions Meld Deftly to the Contemporary, Erasing Borders Festival Takes a Modern Turn. BRIANSEIBERTSEPT. 7, 2014,DanceCriticNewYorkTimes: 



Aravan- the desolate

"An astonishing array of crystal clear micro movements of the hands, head and feet snapped during D. Mitul Sengupta’s presentation of an episode from the Kurukshetra War in the Mahabharata. After a blazing display of her hands and forearms crossing and opening, she rippled around the stage in a blur of fast, tight turns—moving with the speed of a Tasmanian devil an the serenity of a Buddha. - Eye on Dance, Erasing Borders Indoors Festival, 2014, NYC, USA by  Celia Ipiotis 





Review by Dr. Sunil Kotharie about the philosophy and work of Rhythmosaic/, March 2018

Rhythmosaic Sengupta Dance Company

I was asked to work with Dr. Mitul Sengupta and Ronnie Shambik Ghose who have formed Rhythmosiac and have been experimenting and creating new works based on Kathak and Jazz form. Ronnie has studied Jazz at Hong Kong Academy of Performing arts and Mitul has studied classical Kathak from childhood; besides she is a psychologist creating original movement language out of these two forms. She is a fellow in Kathak from Kalakritti Sanskritti Foundation. Ronnie and she worked with French choreographer and their work Swan Lake Revisited has received international acclaim. Their other works like Buddha –The Why Within and White Lotus Black Sand and recent Eklavya have been well received. Mitul was the first Indian ever to perform in Bejing Dance Festival with her work in July 2014. She demonstrated how she performs traditional Kathak and how she blends with her eclectic sensibilities, the technique of classical Jazz and contemporary Kathak. She explained how Jazz and Kathak are different and what their common points are and how she blends them.

Unfortunately, the excerpts of Swan Lake Revisited could not be screened during our conversation. It has been staged at Denmark with Royal Danish Ballet. ICCR in Delhi had arranged to stage it in Delhi and it showed their approach to, as Vikram put it 'contaminate' dance. The hybridity, when blended well, with the two forms gave the experiment another form. Often the autonomy of each form was maintained when performed separately and also the confluence did not jar. I asked about interpretation of mythological stories and various characters, for instance, the story of Aravan, the transgender God, illegitimate son of Ulupi and Arjuna. Mitul said that the work Desolate celebrates the voices of those in the society of mistaken identities, confused gender, unsettled conditions, brutally trapped within and revolves round this confused paradigm of life. The LGBT issues find expressions in such work. Both Ronnie Shambik Ghose and Mitul have been working with their team of young dancers. They are scheduled to go again for a collaborative work abroad. It was important that Rhythmosaic found its representation in this conference. Their work needs to be seen more. Next day we could screen their few works which gave those who had not seen their work, some idea of what they are working on and how they are extending the vocabulary of dance.



Mitul Sengupta, a national scholar of Kathak, has studied Kathak from Kalakriti Samskriti Foundation in New Delhi and has a doctorate in psychology. She is trained in Flamenco and Jazz and these two dancers have combined their talent in grooming a group of young dancers bringing fresh work on the contemporary stage.

Mitual is a versatile dancer exceptionally graceful, rhythmic and strong. Her Kathak has all the nazakat and khubsoorati, grace and beauty but she has imbued it with quality of jazz and sparkle. It leaves an indelible impression. Ronnie has a strong manly stance, demeanor and performs with perfection, stamina and speed. The group is well trained and they dance with zest. The title ‘White’ is only a peg around which they have choreographed dance movements which are energetic and choreographers have kept in mind the aesthetics of Kathak and western classical and contemporary dance techniques, including classical jazz, classical ballet, techniques of Jose Limon, Graham and Cunningham. Tap dance and lyrical flamenco are also interwoven. This myriad vocabulary was expressed with competence. Of course with her movements, Mitul won applause for her talent. Ronnie with his exposure to the west and tutelage under great masters displayed what he can do with Indian dance forms. Their duets, group dances, coming from one side of the stage and running to other side, had indeed a look of a contemporary dance as seen in the west, but it essentially displayed very Indian quality. 

Dr. Sunil Kothari- Samakala 2012



In the finale, Rhythmosaic Sengupta Dance Company from Kolkata presented Desolate – The Voices of the Trapped.  It was a heroic effort to obliterate borderlines between the so-called normal beings and the trans-sexual  and  trans-gender person (khusras), the cross-dresser (zenanas), the eunuch (narnbans) and, in effect, all those who feel entrapped in a body alien to his/her comfortable gender. The third gender has a recorded history in the Indian subcontinent from antiquity onwards as suggested by the Kama Sutra and features a number of well-known roles within sub-continental cultures: part gender-liminal, part spiritual and part survival. 

Directed by Mitul Sengupta, the group of male and female dancers – led by Mitul herself as Aravan – enacted the Mahabharata story, where before the Kurukshetra War, Aravan offers his life-blood to goddess Kali to ensure the victory of the Pandavas, and Kali agrees to grant him power. On the night before the battle, Aravan expresses a desire to get married before he dies. No woman was willing to marry a man doomed to die in a few hours, so Arjuna as Brihannala marries him. In the performance, Mitul excelled in her chakradhars and tatkars, both with and without anklets. The rest of the company was very supportive and choreographed echoes almost wailed from the deep within: “We are trapped, marginalized and utterly desolate.”

There are many barriers in our human civilization that are constantly crying out to be crossed. At one level, there are mortals who have well-defined genders and there are less fortunate ones whose genders are blurred. At another level, there are forms of cultural expressions -- like dance – which get defined by the ethos from which they have evolved and vary hugely from one land to the other. Quite often, these boundaries get so ossified that they get mistaken for God’s own handiwork or culturally too sacrosanct to be ever broken.


The Hindu, India


The find of the festival was, however, the presentation made by the young dancer-choreographer duo Ronnie Shambik Ghosh and Mitul Sengupta from Kolkata. With minimum number of dancers, they generated the maximum impact of the production. Distinctly different from the rest in the festival, their presentation had nothing loud about itIt was a gentle and lyrical progression.

Mitual, who often was seen alone on stage captivating the audience with her dance of intensity, spontaneity, energy and involvement, left a lasting impression on them as a dancer of rare calibre. The smallest team in the festival, led by the youngest choreographers arguably emerged as the best.

Shyamhari Chakra- Samakala 2012



The Telegraph, India


Choreography - Mitul Sengupta, Prasanna Saikia

Direction- Ronnie Shambik Ghose

Rhythmosaic's innovative dance vocabulary made the journey of 'Ekalavya' - The Undaunted at Gyan Manch meaningful. The 'Ekalavya' narrative, for the choreographer, Mitul Sengupta who works in this piece with Prasanna Saikia, is one of the endless dedication and rigid discipline. It is about the single-minded pursuit of the flawlessness that can only be achieved through practice. 

The character from the Mahabharata who stands for the self-training and the perseverance is the prototype for the dancers on the stage who go about stultifyingly dull routine of the endless practice to achieve perfection. Even as our 'Ekalavya's meandering path compels him to face obstacles at the very turn, he remains singularly committed to his missions of reaching the end. An elusive streak of blinding light, appearing fleetingly only to vanish again, is the embodiment of the forever-retreating idea of the perfection. It flirts with Ekalavya, comes tantalizingly close enough for him to touch it. But its is gone before he can bask in its splendour. 

Sengupta and Saikia fall back on the rigours of kathak for their idiom. But they also explore spaces well beyond the realm of classical training. The language that emerges is an exciting one. The dancers feet engage in precise footwork but they are also capable of spectacular leaps in the air and vigorous floor work. The inflections of kathak acquire dynamic contemporary energy in the treatment of the choreography to make a convincing statement about hunger for success. 

The interesting use of corporate dress code grounds the work in contemporary reality. The dancers are impeccably dressed in formals, complete with ties, making their struggle relevant to not just art but also the business and therefore to their existence. 

The music moves from Dhrupad alaap to metallic instrumental, covering a range of versatile soundscapes to match the imagination of the director, Ronnie Shambik Ghose, in Ekalavya and provides strong backbone to it.  


Academic Review, Leeds Beckett University, UK

Knotted - A work in progress, Choreography - Shambik Ghose, Performance - Mitul Sengupta

Comments from Dr. Rachel Krishe and Dr. Laura Griffiths, Senior Lecturer in Dance Research, School of Film, Music and Performing Arts, Leeds Beckett University. 

" The overall performance was impactful in terms of imagery, duration and thematic coherence with the site and positioning of the body  within it. The work was incredibly well executed in terms of performance quality Mitul performed with incredible focus, skill and authority, provoking a sense of time thickening and extending. The setting and art direction was also of a high standard with a clear Gothic feel and there was a clear sense of thematic relationship between, auditory, movement language, relationship between body space and architectural site. Great work Shambik. "

Written On My Body - A work in progress, Choreography- Shambik Ghose, Performance - Mitul Sengupta

Comments from Ms. Beth Cassanni,  Senior Lecturer in Dance, Leeds Beckett University. 

" Shambik your work evidenced rigour and choreographic skill. There was complexity in shifting between Kathak, Jazz and Contemporary modes, tensions, tones, and rhythms in the body of the solo performer and in the switches from talking to moving. The audience are led through a telling of personal narratives told through a first person direct address with embodied expositions of exactly what Mitul talks about deconstruct and play with the idea of performance lecture as form and also demonstrate the embodiment of personal history as we see Mitu's conflicted dancing identities as an autobiographical journey. This clearly articulates your choreographic research enquiry through practice and offers the audience insight into your thinking. Your ideas are intelligently reflected, shaped and given a form which serves them effectively and makes your research available to the audience. "



WHITE LOTUS - BLACK SAND - an Indo - Chinese Collaboration 

Choreography - Ronnie Shambik Ghose, Mitul Sengupta (India), Willy Tsao, Mabo (Beijing, China)

Indian and Chinese artists get together to present a piece inspired by classical kathak and modern dance in Beijing, Chen Nan reports.

She spins around and around really fast with her long, black braided hair spinning in the air and her hands gesturing up and down.

"It's all about the center point. All the movements start and return to the center point of the body," gasps Mitul Sengupta, a 35-year-old Indian dancer-choreographer, who displays a movement of kathak, a major Indian classical dance form, at the theater of Beijing Dance/LDTX.

This is part of her latest choreography work, titled White Lotus - Black Sand, which will be staged at Beijing's Tianqiao Performing Arts Center on Friday and will travel to Taiyuan in Shanxi province on Monday.

The work is the first collaborative project between Rhythmosaic-Sengupta Dance Company, which was founded by Sengupta 10 years ago along with her husband, Ronnie Shambik Ghose, who graduated from the Hong Kong Academy for Performing Arts with a major in musical theater dance, and Beijing Dance/LDTX, 

which was founded by Willy Tsao in 2005. Read more-


Choreography - Ronnie Shambik Ghose, Mitul Sengupta

Shortly after his participation at the dance festival Abundance in Karlstad, the skilled kathakdansösen and artistic leader of Kathak Contemporary Dance Company Dr. Mitul Sengupta to Stockholm to hold workshops and give performances. She belongs to the new generation of Indian dancers both on the exquisite classical tradition, but is also interested in contemporary dance and the modern features in their performances, just like khatakfenomenet Akram Khan. Dr Mitul Sengupta part, it is both the jazz and modern ballet. Dr. Mitul Sengupta has even helped to create a kathakversion of Swan Lake and in 2012.  Publisher & Editor: Ann-Marie Wrange. Advertisement manager: Ann-Marie Wrange. Ad Bookings: tel 08-658 38 18, 998 070-3346 Fax: 08-669 01 11





Review by Smt. Leela Venkatraman in Narthaki about Rhythmosaic Sengupta Dance Company/ March 2018.


The discussion on Form in Contemporary Dance had predictably, individualistic perspectives. Dr. Mitul Sengupta with Dr. Sunil Kothari talking to her, showed how while working with Kathak under a traditional teacher for years, and later with Classical Jazz, she began to explore both forms in the same item but in interaction with each other, till she and her husband began to realise that the different approaches in spine, muscles (stretched in one and lengthened in the other) and anatomy in each could be melded to create a contemporary and charged body language. While doing Swan Lake and showing Odile in one form and Odette in another, the differences as contrasts worked. But with the Kathak/Jazz hybrid, she and her partner had created other work. One had to admit from the excerpts screened later (thanks to Sunil Kothari's insistence) the effort has produced some impactful dance. Geeta Chandran wanted to know how the process worked - if one found the form and later made it fit a theme, or while trying to physicalize a theme, one created the form.


The Narthaki,


Choreography - Ronnie Shambik Ghose, Mitul Sengupta

Rhythmosaic Sengupta Dance Company from Kolkata has earned a name for its contemporary expressions taking off from Kathak which forms Mitul Sengupta’s base style. Desolate, depicting the sorry plight of those who live on the fringes of society like the transgender was inspired by the story of Aravan from the Mahabharata. Offering to sacrifice oneself in the Kurukshetra war, the character wanting to experience all the joys of life before dying, finds that there are no takers for a transgender. Conceived by Shambik and Mitul Sengupta, the gesture of letting off the arrow very clearly articulated the character at the start. Kathak movements with chakkar and foot work with floor level contemporary movements drawn from their mixed training in Kathak, Classical Jazz, Ballet and Contemporary Dance made for varied movements. Costumes with Mitul wearing a skirt and pant, and Prasanna Saikia and Shambik Ghose in their sleeveless blouse tops and skirts, specified the transgender with actions like hand claps, very much a part of the expression of such people. The next work Skin also showed that the choreographer Shambik is drawn to themes springing from societal prejudices. Caste, creed, and just the skin tone brands people in society. Life is full of instances which force roles on people. Thus bodies switching from Contemporary body language to Kathak, act as metaphors for the difference between putting on something and then being oneself which is very different. In snatches of Kathak and expressional gestures, the compulsive stage presence of Mitul with her finished movements and communicating skills, stood out.

It is amazing how Contemporary Dance has become the flavour of dance - for the young, in particular - attracting large audiences.


The Hindu, India


"Obviously a well trained Kathak dancer as shown by the superb clarity of footwork, it was interesting to see Mitul's torso execute graceful flowing movements, reminiscent of ballet extensions, with chakkars exuding a great variety - knife- edged in clipped accuracy, pirouettes on one leg and circling with unusual hip and shoulder movements. Mitul's experimentation registered a process". - Leela Venkatraman 2008.




Choreography - Ronnie Shambik Ghose, Mitul Sengupta

Mitul Sengupta is evolving very quickly into a contemporary dancer to watch. With the rigour of classical jazz and contemporary dance movement, she brings to her Kathak, a flair and an edge that is riveting to watch. 



Choreography - Ronnie Shambik Ghose, Mitul Sengupta (India), 

Willy Tsao, Mabo (China)

I did have the opportunity of watching one contemporary performance in Kolkata. On a consultation visit for the Kolkata Literary Festival 2016, I had one evening free to watch the Indian-Chinese collaboration called WHITE LOTUS BLACK SAND between Rhythmosaic –Sengupta Dance Company and Beijing Dance /LDTX Company. Using Asian modern dance, Kathak and Western contemporary technique in action, this international dance exchange was brimming with promise. With the “Hindi-Cheeni Bhai Bhai” metaphor being stretched to its limits, this show has an extended touring life ahead! Politics and art enmeshed.




Choreography - Ronnie Shambi Ghose, Mitul Sengupta, (India), Gianin Loringett  Martine Kaisserlian (France)

Kolkata artistes Ronnie and Mitul of Rhythmosaic were lucky that their evening of contemporary dance was the day before the deluge. BUDDHA WITHIN and SWAN LAKE REVISITED was an interesting evening of classical contemporary technique on two well trained bodies. Mitul is an excellent interpreter of Kathak and modern movement and is an artiste to watch. Marshaled by the keen eye of producer Oindrilla Dutt, this husband-wife duo has a positive path laid out before them.  



The Telegraph, India


Choreography - Mitul Sengupta

The lawn of Daga Nikunj was well decorated for an evening of dance. Mitul Sengupta, a Kathak dancer, along with her troupe, Rhythmosaic Sengupta Dance Company, presented Bells of Changing Times. A part of the CIMA Awards 2017, organized by Open Doors and the Alka Jalan Foundation, it narrated the journey of Kathak from the temple abodes, through the Mughal period to contemporary times in an enjoyable manner. The show began with a Shiva tandava by the male dancers. " Shankar Girijapati", a famous dhrupad, was the perfect choice for this. After the invocatory number, the production showcased the period famous for thumri and tarana. It was lyrical and expressive. Sengupta was graceful in an aesthetically done costume and performed with élan. Her precise movements, sense of rhythm and subtlety enriched the recital. The finale was a combination of live music by Dishari Chakraborty and dance performances by Sengupta and Ronnie Shambik Ghose. First, Sengupta highlighted the similarities between Flamenco and Kathak. This was followed by a jugalbandi of Tap dance and Kathak by Ghose and Sengupta.


The Telegraph, India


Choreography - Ronnie Shambik  Ghose, Mitul Sengupta, (India), Gianin Loringett  Martine Kaisserlian (France)

Rhythmosaic-Sengupta Dance Company, India, and Offjazz Dance Company, France, presented Buddha: the ‘why’ within at the G.D. Birla Sabhagar on March 2. No, this wasn’t a story about the Buddha or his eight-fold path. It was an exploration of the essence of the Buddha’s guideline towards sublimation. It was a transcendental journey of love, hate, deception, aspiration and desolation. The presentation was an enquiry into one’s search for liberation. Ronnie Shambik Ghose as Barbareek, who notes everything as part of the collective human consciousness sans comment or judgement, was convincing, His movements were agile. Mitul Sengupta, as Ulupi and Aravan, captivated the audience with her energetic performance. She looked attractive in a bright orange costume. The hairstyle and make-up were befitting of the roles. Prasanna Saikia (Aravan the metaphor) proved to be an asset for the troupe. The props, such as the white tree, were interesting. Oindrilla Dutt’s dramatic style of narration was praiseworthy. Yorma Loringett played the role of Arjuna. The costume was done by Swarup Dutta and Debbiee Nath Germanotta.


The Telegraph, India

When It Rained Again

Choreography - Mitul Sengupta

Weavers Studio Centre for the Arts, in collaboration with ITC Sangeet Research Academy, presented When It Rained Again, a solo kathak performance by Mitul Sengupta at SRA on July 13. In a homely ambience, Sengupta explored the magic of the rhythm and grace of this dance style based on teental. Her thaat, amad, paran and chakkar were marked by crisp footwork and neat gait. Command over rhythm and vibrant energy made her performance distinct.


 The Telegraph, India

Swan Lake Revisited 

Choreography - Gianin Loringett, Shambik Ghose, Mitul Sengupta

Mitul Sengupta, a versatile kathak dancer, portrayed the characters of Odette and Odile convincingly through her perfect movements, delicate expressions and properly blended dance style. Her high level of energy and captivating stage presence were the central attractions of the production. 

Well-performed music was another strong point of the production. Original music was composed by Dishari. Yorma Loringett played the role of Prince Siegfried. The idea of using voodoo puppets to signify the curse was apt. Prasanna Saikia as the prince’s friend proved his love for dance with grace and spontaneity. Ronnie Shambik Ghosh as Von Rothbart looked appropriate. The script and narration were suitably done by Oindrilla Dutt.


The Telegraph, India


Choreography - Ronnie Shambik Ghose, Mitul Sengupta

The crisp presentation marked a return to the origin of dance as an expression of human emotions and situations. As an admirer of Martha Graham, it was exhilarating to witness a composition which seemed to have some connection with the psychological base of her work. Segmented into different short pieces like Neutrality, Mixed Emotions, Passion, Greed, Sorrow and Destruction, the entire production created a magic of rhythm and movement with poise and precision. The presentation would have remained at the superficial level of merely blending two different styles had it not been for the emphasis on technique and structure. Sengupta’s performance was all about speed, clinical footwork and supple body movement, while Ghose was clean and confident in his technique and style.

Contemporary dance styles and modern techniques blended aesthetically with Kathak. Out of this was born a unique language of movement and expression. Notwithstanding Sengupta’s vivacity, liveliness and energy, a more restrained approach could have been adopted. The other performers were average. The music, though, was beautiful and it reminded the audience of the strands of Sufi folk tunes. The music was arranged by Bernard D’souza and Munnu Shaw while the script and narration were aptly executed by Oindrila Dutt. Prasanna Saikia, Amit Shaw, Subhas Bera, Amrita Moitra, Raktim Goswami, Shruti Bhowmick and Bidipta Chakraborty were the other participants.