Dr. Utpal K Banerjee was awarded Ph.D. (Commonwealth Scholar), University of Manchester, UK, he has been an adviser on Management and Information Technology for 30 years. He has been teaching at IITs, IIMs, IMI, MDI and several institutions, including leading foreign universities in Beijing, Shanghai, Nanjing, Dalian & Kunming. With an abiding interest in Indian art and culture, he contributes to leading newspapers and magazines over last 35 years. He has been a prolific contributor and anchor-person for cultural & professional programmes at London BBC, Indian AIR and Doordarshan. He was National Project Director for UNDP at IGNCA in 1991-93. He traveled, for ICCR to lecture on Indian art & culture in Canada and South America. He has been visiting lecturer on Indian art & culture at Foreign Service Institute for Afro-Asian diplomats. He received Senior Fellowship in 200709, from Min. of Culture, GOI, to work on “A Journey with the Buddha”, Vols. I & II. He worked as Chief Coordinator for “Leaders of India”, a project under GOI in 2008-09 on Mahatma Gandhi, Jawaharlal Nehru, Indira Gandhi & Rajiv Gandhi for creating an interactive Website. He has been “Tagore Research Scholar” under Tagore National Fellows scheme, GOI, for streamlining Audio-Visual Cultural Archive of IGNCA, 2012-14. He was awarded “Padma Shri” by President of India, 2009, for literary output of more than 35 books on Indian art & culture, Tagore studies and pioneering works on IT and management over the decades.
The World of Indian Performing Arts
This book covers the most recent scenario — the middle years of the 2010s – belonging to Indian dance and drama in an ample mesure, and music to a limited degree. It is unabashedly Delhi-centric (covering also Kolkata), yet surprisingly encompassing the national scene, since these metropolises draw the best talents of the land to showcase their performances. Delhi goes much farther: in constantly luring the itinerant performers from the overeas, and allowing glimpses into the latest happenings in the West and the East.
Dance probably had it never so good in combining the sacred with the profane, the ephemeral with the experimental, and the intuition with the innovation. Our dancers combined solitary solos with mammoth manifestations of choreography, blended nritta and Nritya in a myriad ways and transcended from lokadharmi into natyadharmi – even into manodharmi – in an effortless manner, as was never done before.
Transiting into music, a limited span gets noticed in terms of music therapy, fusion exercises, et al. and some insights into the past greats (like Tagore, DL Roy, Lalon Fakir), some exciting musically imaginative passages, raga music’s bold interaction with celluloid and some fond memorabilia of Kumar Gandharva and Ravi Shankar are offered.