Infusing two worlds

Many Formations

Infusing two worlds


A group of dancers from Rwanda. DH photo by Manjunath M Ss

The evening began with a performance titled, Lakshmi, which was choreographed to the tune of the popular shloka Bhagyaada Laxmibaaramma.

 “The dance offers salutation to the wealthiest goddess in our mythology, in her eight glorious forms of wealth: the splendid goddess of money — Dhanalaxmi, the rice-rich Dhaanyalaxmi, mother of fertility — Santhanalaxmi, the one who brings luck — Bhagyalaxmi, the goddess of victory — Vijayalaxmi,

Gajalaxmi, who is entertained by the songs of elephants in rut, Vidyalaxmi, the knowledge-giver and the very proud and valiant Veeralaxmi,” says Mayuri Upadhya of Nritarutya.

The dance depicted a bejewelled goddess, sitting on 1,000 dew-drenched lotus petals with a golden pot overflowing with grain, and gold is attributed with beauty, sacredness, happiness and power. She, the strength of the cosmic kind — Vishnu, whose eyes hold promise of contentment and fulfilment to those who adore her.

Using Bharatanatyam and Odissi influences in contemporary formations, this classical contemporary sequence unwraps the eight-fold creation on the most popular goddess. The next sequence was Joshi Mars, a technical piece that hoped to expose the many layers and dimensions that make up a man.

As a composition, it brings to light the male energy, the confidence, the suppressed emotions and the child hiding inside a man. “This piece uses the unique property of a see-saw, in a metaphorical manner to highlight the various levels that exist in the societal representation of man,” reasons Mayuri.

There was precision, high energy, style in Intersection, where the movements overlapped and crossed-over, adding to the fast mood of the sequence. Scottish folk music was incorporated to enhance the pace and feel of the piece. The dancers used different movement vocabulary to create geometric similarities and linear patterns. The performance was a blend of traditional dance styles of Bharatanatyam and Kathak with acrobatic movements.

The last but one piece of Nritarutya was Chittara. The piece draws inspiration from Suprabhatam, a South-Indian rag. The piece depicts rangolis being drawn in front of homes. “The performance is based on a variety of geometrical and rangoli patterns. It is an interesting assortment of dances with Tanpura in the background, giving it a very classical touch and an array of percussion and string instruments,” says Madhuri.
Talking about the idea behind infusing the contemporary and traditional dance forms, Mayuri says Nritarutya is ideas in movement. “Our dance reflects India that is now —  in its source of inspiration, music and in the movement vocabulary itself. Our presentations are very much in response to and in continuation with Indian movement forms,” Mayuri signs off.

A group of dancers from Rwanda in East Africa performed, Nzaginama Nanele. The piece was about a guy proclaiming his love for his lady love.

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