Rabindranath Tagore's timeless Phooley Phooley Dhole Dhole, lovingly translated into English by Soumita Saha, is now available worldwide. Experience a classic reborn for a global audience. Listen now and share your thoughts. #BloomsAndBreeze #RabindranathTagore #NowStreaming
Honoured to be featured in an international publication celebrating women artists who continue to redefine creative expression beyond conventional boundaries.
Grateful for every journey, every canvas, every word, and every note that shaped this path. 🌸🎨✨
#WomenInArt #ContemporaryArt #IndianArtists #ArtistLife
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There are moments in an artist’s life that do not arrive with thunder, yet quietly rearrange the entire architecture of self-belief. The release of Bleeding Vermillion was one such moment—a subtle ignition that transformed hesitation into voice, and solitude into stage.
Before Bleeding Vermillion, poetry lived in an intimate, almost private chamber—written, felt, but rarely spoken aloud. The idea of standing before an audience and letting words breathe in real time felt distant, even improbable. But something shifted with this release. It wasn’t merely about putting work into the world; it was about acknowledging that the work deserved to be heard. That realization—quiet yet radical—became the turning point.
Courage, in this context, did not arrive all at once. It gathered slowly, line by line, poem by poem, until the possibility of public reading no longer felt intimidating but necessary. And almost uncannily, the moment belief took root, opportunities began to surface—as if the world had been waiting for that internal permission.
The first door opened through WhatsApp Café, where the selection by Sujoy Prosad Chatterjee for a Women’s Day poetry reading marked a profound beginning. It was more than an event—it was validation. A space where voice met audience, where written emotion found resonance in the room, and where the poet stepped fully into presence.
That moment did not remain isolated. It unfolded into another significant occasion on the 16th of April at This Must Be The Place, curated under the vision of Sujoy Prosad Chatterjee through SPCkraft. This gathering, celebrating The Farewell Poems, served as a promotional prelude to Shesher Kobita by Rabindranath Tagore—reimagined for the stage in English.
The event brought together a constellation of voices—Shubhayan Sengupta, Poulami Chattopadhyay, Solanki Roy, Anusha Vishwanathan, Debopriyo Mukherjee, among others—each contributing to an atmosphere where literature was not merely recited but lived. To be part of such a space was to recognize that poetry is not confined to pages; it is an experience, a shared emotional current.
Looking back, the journey feels almost poetic in itself. The release of Bleeding Vermillion did not just introduce a body of work—it introduced a new version of the self. One that dares to be seen, to be heard, and to stand within its own expression without apology.
And perhaps that is the real transformation: not the events that followed, but the quiet conviction that made them possible. Once belief found its voice, the world responded in kind.
The year began in a blur of fatigue and commitments, a time when both body and mind demanded more patience than usual. Yet, amid that overwhelming start, something profoundly personal found its way into the world—my first book, Bleeding Vermillion Hues, was published in the very first month of the year.
At its core, Bleeding Vermillion Hues is an exploration of emotion in its rawest form. It moves through shades of love, longing, rupture, and quiet resilience—each piece carrying the intensity of lived experience. The vermillion becomes both symbol and substance: of passion, of identity, of wounds that refuse to remain hidden and instead choose to speak.
What makes the work deeply intimate is its seamless connection between poetry and song. Many of the poems breathe with an inherent rhythm, almost as if they were waiting to be sung. The words do not merely sit on the page—they echo, they linger, they invite melody. In that sense, the book exists at the intersection of verse and music, where poetry transforms into song, and song returns as poetry, completing a circle of expression that feels both personal and performative.
“Megh Baalika” – My Upcoming Bengali Single
I am delighted to announce that my fourth Bengali single, “Megh Baalika”, is all set to premiere on 18th August 2025 at 7 PM, exclusively on Raga Music’s Official YouTube Channel.
This song is deeply personal to me, as it draws inspiration from the enchanting beauty of the monsoon. The looming clouds, the gentle drizzle, and the romantic melancholy of rain have always fascinated me. In “Megh Baalika,” I have attempted to capture this poetic charm by personifying the clouds as a celestial maiden—mystical, graceful, and ever-transformative. With heartfelt lyrics, soulful composition, and a touch of oriental musical elements, the song paints the season’s allure in shades of melody and emotion.
Being my fourth Bengali single, this project marks yet another milestone in my musical journey. Each note carries the essence of nature, the magic of rain, and a piece of my own emotions that found expression through this composition. I am truly grateful to have partnered once again with Raga Music, a platform that has always supported original music and creativity.
✨ let “Megh Baalika” drizzle into your hearts.
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Spotify
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From catching up as professional contacts to becoming close friends, My journey with Simon ( DJ Simon G) has been a truly remarkable one. Over the course of four years, we have built a strong collaboration, and now, the time has come for us to soar to new heights. "Fly High," project, is finally ready to take off. We have put in our heart and soul to make this dream a reality, and we couldn't be more excited to see it take flight. Together, we will defy boundaries and hope to receive love and appreciation. Get ready to witness the release of 'Fly High' as we soar high in the sky.
The Puratoni Bangla Gaan or Baithaki Gaan form an integral part of these festivities.The melodies of Puratoni Bangla Gaan accompanied by traditional musical instruments transport listeners to a bygone era filled with nostalgia and reverence. They serve as a reminder of the rich cultural heritage of Bengal and the deep-rooted religious beliefs of its people. Puratoni Bangla Gaan or Old Bengali Songs are a genre of music that is almost on the verge of extinction.
Puratoni Bangla Gaan portrays the love and adoration that Bengalis have for their beloved gods and goddesses.
Puratoni Bangla Gaan plays a vital role in the festivities of Durga Puja reflecting the devotion and love for Goddess Durga.Durga was popularised later, from the 17th and 18th centuries, by the zamindar class for agricultural prosperity and to display their pomp and power — in late Mughal and post Mughal Bengal.As the ‘mother slot’ was occupied by Kali, Durga was fitted in as the ‘daughter’ of the Bengali Hindus. She visited her parents, Giriraj and Menaka, just for four days a year when they poured all their love on their darling daughter, Uma. It made more sense for Durga/ Uma to take her young children to her parents’s home, as she would not leave them alone.
Thus, Bengal transformed the belligerent goddess into a loving daughter. There are many Puratonis that portray the perspective of Uma's mother. Sometimes she requested Giri Raj Himavan to go and bring Uma home. She even expresses her sorrow as Uma practices a lifestyle that's so different from the lifestyle of princess. " Kemon Kore Horer Ghore " is one such song where Mainavati asks Uma , How did she managed to dwell on Shiva's abode. People keep saying different stuff about lifestyle breaks her heart. It is literally so painful for a mother to hear from other that her son in law begs. She even utters this time he arrives to take Uma home, she'll say Uma's not home.
Coverage For Rabindra Jayanti release...
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Media Coverage for Ojey Manena Mana
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Blooms and Breeze Released from Raga Music is now streaming! 🌸 Rabindranath Tagore's timeless Phooley Phooley Dhole Dhole, lovingly t...
