Festival Archives

Curated by Ranjana Dave

This is probably the first time that Karnatic music and Kattaikkuttu will meet on equal terms to explore what they share, where they differ, and how they “speak” with each other. The coming together of two artistic minds – a Karnatic vocalist T.M. Krishna and Kattaikkuttu actor, director and playwright Perungattur P. Rajagopal – has resulted in an exuberant collaborative performance. In an exhilarating exchange of repertoire elements from both forms, Karnatic and Kattaikkuttu performers present excerpts from the all-night plays, Disrobing of Draupadi and The Eighteenth Day. Karnatic music and Kattaikkuttu theatre intertwine in the performance, reinforcing and commenting upon and transforming each other. Sangeetha Sivakumar renders the lyrics to introduce the character of Draupadi, while Kattaikkuttu actress S. Tamilarasi embodies the epic heroine during the infamous disrobing scene. In a composition by Perumal Murugan especially written for the programme, T.M. Krishna reflects on the position of women in society after Draupadi has been dragged by the hair into the assembly. He responds (as Krishna) to the angry accusation of Duryodhana, performed by P. Rajagopal, that he has been pivotal in drawing the Kauravas into a devastating war that has witnessed the annihilation of all their forces. Kattaikkuttu actor singers Doraisamy, Srimathy and Bharati perform a brief excerpt from Bhaja Govindam commenting on Duryodhana’s inability to let go of his desire for power and wealth, even in the face of defeat.

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Curated by Ranjana Dave

Abhanga Ranga is a presentation that captures the spirit of the Varkari saints of Maharashtra through the medium of Bharatanatyam. The abhangas, which are gems of poetry rich with devotional fervour, have been translated into a visual landscape in this performance. The choreography through descriptive images in Bharatanatyam, unfolds the stories of deities like Ganapati, the glories of Lord Rama, the leelas of Krishna, the pangs of separation from the God, ending with Dnyaneshwar’s Pasaayadaan. The traditional narrative of classical dance idiom also explores the philosophy and thoughts of Bhakti Marga. The pulse of this celebrative work is the rich literature of the four pillars of Varkari Sampradaya, Sant Dnyaneshwar, Sant Naamdev, Sant Eknath, and Sant Tukaram.

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Curated by Leela Samson

Chavittu Natakam originated in the coastal belt of western Kerala during the 16th and 17th century, together with the advent of the Christian Missionaries. Closely connected to Koothu and Koodiyattam of Kerala, the dance form also bears striking resemblance to the Greek Opera. While in the olden days, the performance of a single story of Chavittu Natakam extended between ten to fifteen days, it has now been confined to a short span of two hours. The story of this play is based on the heroic deeds of the French emperor Karalsman (Charlemagne), who defeated Albrath, the emperor of Jerusalem, regaining the land he had once lost.

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Curated by Ranjana Dave

‘Look Left, Turn Right’ is a site-specific intervention that questions the fine line between functionality and performativity in movement. Set up as a series of structured improvisations, ‘Look Left, Turn Right’ is performed at busy traffic intersections, thus pulling dance out of a formal setting into an everyday public space that is accessed by all. The performers engage with the site in real time as a first encounter, thus setting up relationships between a dynamic passing audience, and the space they temporarily inhabit.

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Curated by Leela Samson

Odisha is a land of art and culture, where many folk dance forms have evolved in different regions of the state. Vividh Varna comprises the dance forms of Gotipua, Danda Nata, Sambalpuri and Ghumara, representing the myriad of hues and colours of the folk culture of Odisha. Gotipua is a traditional dance form performed in Odisha for centuries by young boys, who dress as girls to serve in Vaisnavite religious festivals. “Danda Nata” is a popular folk dance of Odisha which derives its origin from the ‘Saiba Purana’ i.e the mythological history of Lord Shiva and Devi Parvati. It is also linked with the socio-agricultural scenario. When the Earth is ripe with the harvest and the oceans of paddy sways madly in the wind, the first cut of fragrant grain is offered to Goddess Lakshmi and a jubilant community sings and dances at the prospect of renewed prosperity. Ghumura is a traditional dance of Kalahandi in Odisha and performed with great pomp and ceremony in each and every village of Kalahandi.

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Curated by Leela Samson

The performance, which is laden with an age-old tradition and the abundance of flowers, accounts for Krishna’s ‘raas-leela’ with the gopis. Travelling from the land of Vrindavan to the coastal region of Goa, the spirited dance engages a variety of colours, movements, and sounds.

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Curated by Ranjana Dave

Kumbakarna and Lakshmana, the brothers of the two protagonists of the Ramayana, are connected by boons that dramatically alter their cycles of sleep and wakefulness. Kumbakarna along with his brothers, Ravana and Vibhishana performed a major yajna and penance for Lord Brahma. When the time came for asking a boon from Brahma, his tongue was tied by goddess Saraswati (acting on Indra’s request). So instead of asking for Nirdevathvam (annihilation of the Devas), he asked for Nidrawathvam (sleep) and his request was granted. Laxmana, on the other hand, was allowed to give up his sleep completely and bequeath it to his wife, Urmila, for the fourteen years of his exile. In the course of time, both boons seem to acquire the dimensions of a curse, as they each have an uncomfortable outcome.

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Curated by Ranjana Dave

This site-specific work at Adil Shah Palace looks at igniting an experience that is created by placing moving bodies in and against an architectural space. The aim is to capture the variety of episodes/phases/stages the palace has been through over the course of time. The collaborators look at ways to manifest the essence of the building and the people who occupied it over time. They are inspired by the ideologies, political philosophies, and roles that the building has accommodated in some form, still withstanding the test of time. That the palace was constructed in a mixed architectural style is something they want to look at from the perspective of present times. The idea is to imagine a convergence of all this information in the framework of a movement-based expression.

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Curated by Leela Samson

Movements and Stills is an experimental idea based on challenging the physical energies to create a contemporary dance piece. The vocabulary of Kathak has innumerable patterns of lyrical movements- at times slow, at times crisp. The structure of the dance is based on different taals, and the rhythmic composition ends on the sam, or the first beat of any given taal with a position of still, thereby forming of a static pose. The name of the production is derived from the style of Kathak, which is designed around movements and stills.

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Curated by Leela Samson

Lokapalanmare, a solo performance by Sadanam P.V. Balakrishnan is the first scene from the famous Kathakali play (Attakatha) Nalacharitham by the 18^th century playwright, scholar ad poet, Unnayi Variar. The Nalacharitham, based on the Mahabharata, is a four-part play about King Nala and his consort Damayanti.

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Curated by Ranjana Dave

An excerpt from the Indian epic Ramayana, Adishakti’s Bali is a retelling of the various events that led to the battle between Bali, the ruler of Kishkindha and Ram, the King of Ayodhya and eventually, the death of Bali. Here, the writer has tried to explore the notion of right or wrong through its various characters, while steering clear of any subjective influences. Through this play, we explore how one evaluates this notion and, how it can change when each and every character is given an opportunity to voice thoughts and opinions. The play weaves multiple stories through the point of views of Bali, Tara, Sugreeva, Angadha, Ram and Ravan and talks about how each of them make decisions and take actions based on the ethics that define their lives. The play gives its audience a space for introspection, to take a step back and detach ourselves from our dominant ideologies and rigid identities to understand different perspectives. Will relativism answer our questions? Where do we draw the lines? We leave it to you to decide.

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Curated by Ranjana Dave

Lavani has ruled the stage in many parts of Maharashtra over centuries. It is a form of song and dance that entertains the audience, engages them, and makes them an integral part of the performance.

Traditionally it is performed in Tamasha, an all-inclusive, folk-based form, as well as in Sangeet Bari, an intimate and personalised practice. Gender and sexuality play a pivotal role, with ‘sringar’ (eroticism) as the dominant rasa (flavour) in lavani. Lavani also uses ‘hasya’ (humour) to comment on issues of social relevance, dealing with subjects in a direct and unabashed style. Interestingly, lavani is written by men, for the entertainment of men, yet performed by women.

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Curated by Leela Samson

To Die Upon a Kiss… is a Kathakali performance, based on the world famous tragedy Othello by William Shakespeare. Constituting one of the most prominent classical dance forms of India, Kathakali is characterised by elaborate make up, face-masks and costumes. The characters will be presenting edited scenes of Shakespeare’s play, touching upon the broad themes of downfall, betrayal, and love.

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Curated by Ranjana Dave

‘Tanashah’, a solo by Navtej Johar, explores extremes. Based on the jail diaries of the revolutionary Bhagat Singh, particularly his essay ‘Why I am an Atheist’, it examines the resolve of a young man to walk to the gallows with searing clarity, un-sublimated by religious doctrine or idealist philosophy. The impending moment of his youthful death almost seems to embolden him, propel him unto that final moment with a fierce veracity. Juxtaposed against this fierceness of a man tempting death, will be a padam, an amorous song, that talks of a lover’s unbearable longing and unacceptable separation from his beloved. Both the narratives—the powerful ardour of a revolutionary and the unbridled desire of an impassioned youth—dark, masculine, uncompromising, and almost heckling in nature—will be somatically interwoven in search of poised resolve in the finality of awaited death/consummation.

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Curated by Ranjana Dave

The Sanskrit word Sriyah, which means sri, embodies the creative journey of the search of the goddess. The ancient wisdom, sacred rituals, divine transformation are unveiled and interpreted in an electrifying dance. Come watch, and you might witness a sacred transfiguration- from stage to temple, and from woman to goddess.

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Curated by Leela Samson

Stemming from the roots of the ancient Sanskrit text Natya Shastra, Kuchipudi is a classical dance-drama of India. The performers convey the selected story through dynamic movements and expressive eyes, aided by an ensemble of musicians. The traditional attire of a sari, the braided hair adorned with fresh flowers and delicate jewellery, along with the soft sound of the ghungroos form the ancillary elements of the dance. Kuchipudi Nrithya Sandhya, which translates into an evening of Kuchipudi, will captivate the audience and transport them to a mythical land

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