HIGHLIGHTS

Dance DISCourse – Transcendance

 
Type: Event
City: Bangalore
Date: Sat, 2011/06/11 – 6:30pm

 

Nritarutya’s ideas in movement

 

In keeping with vast range and variety of topics, Alliance Française – Ashish Khokar’s Dance DISCourse is offering to Bangalore audiences, Saturday, June 11, 2011, 6:30pm promises to be a unique evening because it showcases what is modern in Indian dance today.

 

For long the word modern has been mistaken for contemporary. Khokar will explain how the two are different, and use Bangalore’s avant-garde group Nritarutya to illustrate with 3 short items what is the language of modern dance. While entry is free, members are welcome to donate to the cause in the pink box at entrance or become members of DANCE HISTORY SOCIETY (for form click on www.attendance-india.com)

 

Representing the progressive and innovative movement arts in India today, this premier Bangalore based, contemporary dance trust, aims to present bold, aesthetic and innovative Indian contemporary dance work while creating their own, personal vocabulary in movement. Their language of dance is inspired from mythology to modern age themes and experiences.

 

Composed of two words, Nri-taru-tya essentially means a “dancing tree”. With 3 performance entities, the International performing unit, youth wing and the children’s wing, Nritarutya’s family, led by artistic director, Mayuri Upadhya, amounts to a set of more than 30 passionate dancers.

Primarily, a performing unit, they also initiate programmes, projects, community work related to dance education/training and performing.

On June 11, 2011, they feature at Alliance Française their latest thematic visual works inspired from mythology to modern age themes. Founder, Artistic Director, & Principal Choreographer of Nrityarutya, Mayuri Upadhya will be present as panelist.

 

 

For further queries, please contact [email protected]

 

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Nritarutya’s Dance Presentations

 

Contemporary Indian dance troupe, Nritarutya will perform live, their latest works, Ganda BerundaMars and 3 Sides Of A Coin. The evening will also showcase videos from their other popular works, ChittaraKaliArdhanarishwara and Puppets.

 

GANDA BERUNDA

This sequence is composed with the muse drawn from Indian myth of the two headed bird – GANDA BERUNDA. The legendary bird is a symbol of Hindu royalty and is thought to possess magical strength. This is a visually enthralling dance designed for a duo, with ‘contact work’ adding to the physicality of the work. Colored body suits with elaborate head-gear and ‘wings’ in the costumes furthers the dramatization. Music is instrumental, laced with a haunting Arabic melody, thereby making the entire choreography sculptural and embracing, adding richness to its texture.

Choreography: Mayuri Upadhya
Dancers: Umesh Naidu, Vishwa Kiran
Costumes: Anshu Arora

MARS

 

Mars is a technical piece that aims to expose the many layers and dimensions that make up a man. As a dance creation, it brings to light, the male energy, the confidence and physicality inherent in them.  The piece is energetic, very physical and nirtta based with mainly male performers. Using a vocabulary of bharatnatyam infused with physical theatre and contact work, the act aims to push the body to its creative limits in the context of dance.

A unique property of a see-saw is used in a metaphorical manner to highlight the various levels that exist in the societal representation of man, the shades of experience he lives through for survival.
Percussive sounds from Indian and African instruments pack the musical score with a distinct, original style.

 

Choreography: Sathya B G
Dancers: Umesh Naidu, Rohan Raj, Vishwa Kiran
Music: Darbuka Shiva (of the band Yodhaka, Chennai)
Costumes designed by: Mayuri Upadhya
Tops painted by: Madhuri Upadhya
Property designed & constructed by: Suresh

 

 

3 SIDES OF A COIN

The composition juxtaposes three distinct styles – the classical Bharatanatyam, modern dance and martial arts. The styles are metaphorically compared to three sides of a coin – the heads, the tails and the plane that binds these two together.

Choreography: Sathya B G
Costumes designed by: Mayuri Upadhya

Kali – choreographed  by  Mayuri  Upadhyay  which  is  based the  dance  is classical-inspired and  neo-traditional.  The dance is an ode in movement to the ferocious killer goddess – The Bhadrakali, as popularly known, in Bharatanatyam inspired choreography. Her dance of death is seen as a union
with God, nirvana of the soul, a beginning rather than an end.

Chittara – choreographed by Madhuri Upadhyay, who is also a fine arts graduate apart from being a trained Bharatanatyam and Kathak dancer.  The act Chittara does not follow any particular dance style; it’s both fluid and staccato. A visually stimulating presentation, the piece uses dancers to create striking while incorporating mixed media in the form of graphics and projections. The piece seeks inspiration from a  typical south Indian morning,  where one can hear Suprabhatam, see Rangolis being drawn in front of homes and giving a  spiritual welcome to the day. The music in the piece is by Rzhude David, former guitarist with rock band Thermal and a Quarter.

 

Movements within and beyond – An experimental video that captures movement is in raw and abstract forms.

Ardhanarishwara –  The piece is theatrical, has an elaborate stage setting and is inspired from day to day situations. The piece is very frontal in design, making the movement exploration vertically not by a line. The choreography compares contrasts of Indian eras, interconnectedness between external relationships and the internal.

Puppets – choreographed by Madhuri Upadhya, this sequence delves into the life of puppets after they are put away for the day. Bringing to fore a question that if life is an illusion, is it necessary to let go of the power and ability to think, feel or move: the puppets are also shown enjoying
life, celebrating their existence in total ecstasy.