What is Kathokotai Agomani?

[rshankar]

Is there a visual track of a performance like this that was reviewed inhttp://www.hindu.com/fr/2008/10/10/stories/200 ... 330200.htm?

The bolded part was interesting!

[quote]Kathakotai Agomani

Reviving an almost extinct art form of Bengal, Ashish Ghosh’s multi-faceted talent has given the tradition of Kathokatai Agomani new life. Under the aegis of Impressario India, the 100th enactment, at Habitat’s Basement auditorium, of Uma’s (Goddess Durga) visit to her parental home (coinciding with a day before Sashti during Durga Puja, when the Goddess is welcomed into every home), kept the audience enthralled. Part of Matra Sangeet as opposed to Shyama (Dark Goddess) Sangeet, this art form took root in the 18th Century with the declining Mughal Empire and the British slowly but surely establishing their suzerainty over India. Barren fields and hunger with rebelling fakirs saw the saint poets of Bengal compose songs interlacing the human and the divine in everyday emotions, elevating the commonplace to eternal glory. Sung in a particular generic style of singing known as Agomani, this movement was propelled by Bhakti Sangeet, Shakta traditions and Tantra. With a mystic quality and metaphysical underpinnings these songs endearingly reflect vatsalya rasa or the mother’s love for the child.

Supported by a team of four involved musicians and percussionists seated on either side of the performing area, Ghosh’s evocative singing, acting and keeping rhythm, gave a sterling exhibition of most communicative total theatre. Dreaming of her fair daughter Uma growing dark with the stresses of being consort to an alms-seeking Shiva lost in bhang-induced stupor and dance, Menaka implores husband Giri to visit the son-in-law’s home. Smote by the humble abode with playing children Ganesh, Kartikeya, Lakshmi and Saraswati, Giri finally steers Uma to skilfully persuade Shiva to allow her a four-day visit to her parents. An overjoyed Menaka greets Uma visualised between two images of the ten-armed Goddess Mahamaya and her homely daughter.

In the Kathokata narrative style scenes flowed — Shiva consenting while urging that she not forget him while at her parents’ place, the mother seeing the ten-armed Mahamaya while yearning for her simple daughter, the effusive welcoming of Uma “Elo Giri Nandiniâ€

[veenajj]

Kathokatha is somewhat similar to Harikatha, where there is one person on stage who depicts a story through narration, song, dance and explanation.

Agomoni is "the coming" (Agaman), and with people of Bengal it is associated with the coming of Goddess Durga. Traditionally, Agomoni Sangeeth fills the air on Mahalaya, heralding the Durga Puja festival.

Kathokathay Agomoni should be Agomoni songs depicted harikatha style.

AIR Kolkata has a tradition of broadcasting Chandi PAth and Agomoni Sangeeth on Mahalaya at 4 am in the morning, invoking the Goddess through songs and mantras, imploring her to descend on the earth to destroy Mahishasur. The two-hour narration has a divine aura, creating an atmosphere drenched in divinity. We never missed listening to this when we were in Calcutta, and thankfully a commercial release of the same by HMV enables us to relive Kolkata's Mahalaya spirit here in Chennai at 4 am in the morning on Mahalaya Amavasya.

Jeyaraaj and Jaysri

[rshankar]

Thanks, J and J. Is there any 'dancing' here, like in the kathakAr's style of story telling that later evolved into kathak?