As a brilliant showcase of India’s cultural heritage, the Bengali Biennale brought Chow, Gotipua and Patachitra alive in the peaceful surroundings of Santiniketan. Folk art of Bengal was given life on the theater stage.
The Theater House nestled in the quiet, sunny forest of Santiniketan was transformed into a vibrant sanctuary of art and heritage on December 22. Bengali Biennale is a meeting place of ancient Indian performing arts and modern explorations. A story about tradition, perseverance and artistry weaved itself on stage.
Established in 1990, Theater House has long served as a gateway to artistic exploration. It is located in rural tribal areas, whose natural surroundings symbolize harmony with tradition and innovation. Its sprawling four-acre grounds include paddy fields, fruit orchards, organic vegetable gardens and a tranquil pond—a haven where ancient tradition meets modern creativity. As Milan Mela artistic director Alessandro Anil describes, “Theater House is a journey. A space that guides the reconstruction from the ancient to the contemporary. A junction between different worlds.”
In the magic of the exhibition
The program of the Bengali Biennale started with the gentle melody of Prabhat Pheri. It echoed like a prayer in the quiet atmosphere. The environments that followed were varied and profound. In which Chou dancers from Purulia, Gotipua temple dancers from Odisha and Baul musicians from Bengal participated. Each art form, which lies deep in India’s cultural heritage, tells stories about devotion, adventure and life.
The traditional clay floor of the central hall left the audience in awe of the artistry and postures of the Gotipua dancers. Outside, against the backdrop of the forest, the intoxicating sound of Mardala drums inspired the movements of Chou artists, whose elaborate masks mirrored mythological characters. The soulful music of baul singers and the sound of dotara playing transported the audience to a strange world, where the search for divinity lay in simplicity and song.
“As an artist who has always been most interested in small-scale productions, the concept of ‘Poor Theatre’ is exciting to me,” said Te Hao Boon, a participant from Singapore. Being able to transform into more characters with just my voice and body. Beyond acting, the community life here has inspired me to have deep discussions about life and art.”
Legacy of Theater House
Theater House’s philosophy lies in its integration of art, nature and community, where sustainable living creates a source of livelihood for local villages. For more than three decades it has hosted artists and practitioners from around the world, creating collaborations that transcend geographic and cultural boundaries. The Biennale, curated by students from the Theater House’s residency program, brought this philosophy to life and offered a glimpse of the deep learning and artistic rigor developed here.
Srijita Saha, a teacher at Theater House reflected on her transformational journey: “The stage is not only a platform for self-expression, but a catalyst for growth, learning and connection. What I have learned and taught has helped me to understand that the skill of an actor is not only to acquire technical skills, but also to cultivate the soul and the mind.”
Workshop and Sources Research Project
The Biennale performances were closely related to the principles of the Sources Research Project, an initiative that has been organized for the past 15 years, led by Abni Biswas. It is inspired by Jerzy Grotowski’s “Theatre of Sources”, which explores the connection of body, mind and heart. Participants participate in workshops that emphasize silence, nature, and introspection, thereby developing a deeper connection to their art.
Milan Mela, a flagship activity of the project, allows traditional performance techniques to reach a wider audience. The lyrics of the Bauls and the dynamic storytelling style of the Chow dancers reflect the project’s heritage and commitment to preserving and sharing India’s cultural treasures.
A festival, not just a performance
The Biennale was not just an exhibition; It was an experience. In between performances, artists and audience dined together with the theater house’s organic produce. The aroma of home-cooked rice and vegetables mingled with humor and conversation, bridging cultures and generations.
charaivati
As the sun set in the west, the Bengali Biennale left an indelible mark on those who attended. In a world fast moving towards modernity, such events serve as a poignant reminder of the beauty and wisdom at our core. It encourages us to stop, reflect, and reconnect—not just with our cultural heritage, but with ourselves.
For those who missed this edition, the Theater House invites you with its timeless promise: restore the ancient and reinvent the contemporary. As its sole principle states, the melding of tradition and exploration creates a bridge, where past and present dance together, to create a brilliant path.
