Curated by Leela Samson
A comprehensive presentation of three forms of Chhau: Seraikella, Mayurbhanj and Purulia. Each style is distinct, drawing from the rich traditions and history of their respective regions of origin and practice, deeply rooted in their varied contexts yet representative of formal properties of the the form. Audiences will experience the diverse spectrum of Chhau forms and styles, discovering variations and confluences in performance.
Curated by Leela Samson
Art is a reflection of human emotions. Human emotions are based on the lifestyle, society, profession, natural atmosphere and the fertility of the particular land. Tamil culture speaks of five different landscapes that divide the profession and lifestyle of people, according to the region they live in. Fertile land, mountain, forest, seashore and desert were the five landscapes. Based on these divisions, music and dance were nurtured in these areas.
Curated by Leela Samson
Intended for students of dance, young athletes and sports enthusiasts, the workshop will focus upon specific body conditioning for improving flexibility of joints and muscle groups; increasing balance of body; co-ordination of movements; enhancing endurance; increasing reflexes; corrective exercises and massage techniques.
Curated by Leela Samson
An in-depth lecture exploring the legend, history, styles, influence and decadence of the discipline of Kalarippayattu, which will be explained with the aid of projections. While explaining the four pedagogic parts of Kalarippayattu, live demonstrations will follow, concluding with a Q&A session.
Curated by Leela Samson
A performance of select scenes from the epic Ramayana, narrating the spurning of Suparnakha by Rama and Laxmana, which instigated the abduction of Sita by Ravana. Performend in the style of Yakshagana, the showcase will allow visitors to discover a familiar tale in a new form.
Presented by Sri Idagunji Mahaganapati Yakshagana Mandali Keremane (R) Direction and Choreography by Keremane Shivananda Hegde.
Curated by Leela Samson
What humanity faces today is the result of our day-to-day karma. For the most part, it is us, humans, who are the reason for natural disasters. How can art play a role in reversing this trend, in taking us to a greater awareness of our actions and their impact on the world? Three artists and three forms—Ottan Thullal, Bharatanatyam and Kathak—come together in a journey, a search for the true path to evolution and understanding in a world where we often feel lost. The path can be found through our daily actions, through constant reflection, through the way we practise our art, through how we collectively balance the needs of the individual, community and environment.
Curated by Leela Samson
Bhamakalapam/Navajanardana parijatham, is a story about Sri Krishna and Satyabhama. Satyabhama is a distinct prabandha nayika (key female protagonist) in Telugu literature. The role of Satyabhama as Krishna’s consort counters the tradition of featuring Radha as the companion, which is prevalent in the other regions. In Nattuva mela tradition, the Bhamakalapam was performed for nine nights outside the temple and thus was called Navajanardana Parijatham. Earlier it was performed for nine consecutive nights at Kunti Madhava Temple by Late Smt. Pendyela Satyabhama and artistes from the same family of Pithapuram.
Curated by Leela Samson
“Beyond the boundries of mortal exsistence! Enraptured in Eternity!”
A performance by India’s first transgender Bharatanatyam dancer Dr. Narthaki Nataraj, depicts the story of those devotees who have gone beyond the norms of this world and have united with the divine.
Curated by Mayuri Upadhya
Maher community belongs to the Saurashtra region of Gujarat, and have played a major role in the 1600 years history of the region. Traditionally a warrior community that turned settled agriculturists, Maher in the past danced to celebrate holi, to celebrate victory over cattle raiders or opponents in war. Male members of the community can be distinguished by large mustaches and white turbans. Wood sticks and axe are their main weapons and they are well trained in swordsmanship.
Curated by Mayuri Upadhya
Red Dress Waali Ladki, was born out of the Diya Naidu’s response to the brutal crimes against women in India. Through the research and introspection that went into making the work, she decided to talk about the layered, subtle experience of the woman, who is seemingly liberated but constantly carrying fear in her body. Through the performance, she asks: Where does this patriarchal penetration locate itself? If ‘her’ rape is ‘my’ rape, can my bliss be her’s too? Can men be invited as equals into this?
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