Mala in Ada Ranga Mandira: Bengaluru
Mar 17
2018

Mala

Classical dance Multilingual

Ada Ranga Mandira: Bengaluru,
No.109, J.C Road, Infront Of Ravindra Kalakshetra, Corporation Circle, Bengaluru, Karnataka 560002, India

  • Sat 17 Mar, 02:00 PM

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    Rs. 401.20 - Rs. 1003

  • Sat 17 Mar, 08:00 PM

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    Rs. 401.20 - Rs. 1003

ARTISTS

Rukmini Vijayakumar

The quadruple bill will explore several aspects of the traditional form of Bharatanatyam and move them into a contemporary context while shifting perspectives on approach to space, dynamics and emotive flow. The evening will retain the original context and vocabulary of the form while pushing boundaries.

Bharatanatyam has two aspects to the form. The physical movement of the body as well as a stylised theatrical storytelling emotive element. The two elements often exist side by side without having anything to do with one another. The pieces in the evening's performance will attempt to bring physicality to the otherwise purely emotive, theatrical aspects and bring raw emotion into the movements themselves. The physical vocabulary that otherwise often serves as ornamentation interspersed with theatrical expression will then become a part of the emotive narrative.

In Bharatanatyam, the physicality is developed by the creation of a series of angular shapes within space. The movement quality that is dominant is the idea of cutting through space in linear direct motion while creating these shapes within the body. The idea of momentum and movement that arises through the shifting of weight are less explored. The ancient movement system in India, with its roots in the Natyashastra, an ancient text of dramaturgy was far more curvilinear and lent itself more to the idea of playing with body weight and momentum. The choreographer attempts to work with the current vocabulary of Bharatanatyam and draw upon the ancient movement systems as well as contemporary thought processes to introduce the ideas of body
weight and momentum. The idea of fall and release and connecting movement through shifting weight will be explored. Thus allowing concepts in the Natyashastra as well as modern contemporary dance to shift the perspective of the initiation of movement in Bharatanatyam.

Musically and rhythmically the pieces will use Carnatic music and utilize its rhythmic complexities to inform movement choices as is done traditionally in Bharatanatyam. The solo instrument will be explored as opposed to the constant use of an ensemble in all pieces.

1) Ardanareeshwara 15mins
Composed by: N Raghuram
Rhythm in Carnatic music has many layers. The base rhythm is layered with opposing layers and within the opposition, harmony is ultimately found. The rhythmic structures have a symmetry and format that they follow.

The complexity and layering offer a structural challenge to choreography that is exciting and precise. This piece is in praise of the form of Ardanareeshwara, an amalgam of the Masculine and feminine. It exalts the spiritual union of a limited self with the limitless universe. It also describes the form of Shiva physically that embodies masculine and feminine elements. This piece also uses the ancient movement system of Karanas that allow momentum and flow in movement, along with the Bharatanatyam vocabulary.

2) A Gopika's lament 35 min
Composed by: Lalgudi Jayaraman
Varnam is the traditional musical format that is utilized in creating work in Bharatanatyam, with alternating phrases of Pure dance and emotion. Retaining a skeletal structure of this format, the story of a girl who is in love with Krishna is told. She asks if Krishna is unaware of her feelings after all these years. He left Vrindavan, the place they grew up together without telling her. When she went searching for him and finally found him, he walked by her as though he didn't recognize her. A parallel between the spiritual philosophy of the supreme consciousness being writhing us is drawn here. The gopikas finally realizes that Krishna is the music of the flute, within her heart, in Vrindavan and decides to go back.

3) Mathura Nagarapathi 15 min
Composed by: Rajkumar Bharathi
Music arrangement: Sai Shravanam, Resound India
Krishna wakes up one day and decides that he has to go back to Vrindavan to see Radha. Memories of their time together flood his mind. The first time they met, their growing friendship, the moment they first held hands, the way she used to let down her hair and have him braid it, the time they realized they were in love. Krishna also remembers the moment that he left her. Her face looking at him as he walked away leaving her forever. As he walks toward Vrindavan, he knows that she has moved on. She is possibly married to someone else. He promises himself that he just wants to see her one more time. Radha, now her hair tied up, looks to see Krishna walking toward her again.

4) Pendulum 10 min
Composed by: Rajkumar Bharathi
Music arrangement: Sai Shravanam, Resound India
A piece that breaks down the traditional format of a Trikala jathi (a rhythmic piece done at three speeds) and works on the idea of body momentum carrying one movement to the next. It will also explore the ideas of suspension and release of the Bharatanatyam vocabulary to find connections in movement phrases otherwise unexplored. A jathi is traditionally a rhythmic sequence that is in various parts of a Bharatanatyam recital and works primarily with dance phrases that carry no story.

Music credits
Ardhanareeswara & A Gopikas lament
Vocal : Nandakumar Unnikrishnan
Mridangam: N Kesavan
Flute: Vivek V Krishna
Violin: Pradesh Achar
Mathura Nagarapathi & Pendulum
Violin: B. Ananthakrishnan
Keyboards: Navneeth Sundar
Mridangam: N Kesavan

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      Disclaimer

      1. Contributions once made cannot be refunded or cancelled.

      2. Big Tree Entertainment Pvt Ltd (BEPL) is facilitating the transactions on the platform www.in.bookmyshow.com. The proceeds of the same will be used for the benefit of certain sections of public / charitable purposes (“Purpose”).

      3. BEPL may at its discretion either (i) donate the proceeds collected to entities, persons, organisations, trusts engaged in activities directly related in the furtherance of the Purpose (ii) by directly undertaking/engaging in activities which are related to the Purpose .

      4. Persons, entities, organisations, Trusts to whom BEPL makes such voluntary contributions have represented to BEPL that the end use of such contributions will only be towards the Purpose.

      5. BEPL expressly disclaims any and all liability and assumes no responsibility whatsoever for consequences resulting from any actions or inactions of any other person, entity, and organisation or trust that it may engage with.

      6. By proceeding to donate the money, you do so at your own risk and expressly waive any and all claims, rights of action and/or remedies (under law or otherwise) that you may have against BEPL arising out of or in connection with the aforesaid transaction.

      7. BEPL will not be held responsible for the issuance of 80G certificate.

      8. For any queries, kindly write at [email protected].
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        BookASmile is a charity initiative run by India's leading online ticketing platform BookMyShow. Created with a vision to enrich the lives of the less fortunate (children, young adults, senior citizens and physically/mentally challenged individuals ) across India through the medium of Experiences & Enjoyment.

        What We Do?
        We, at BookASmile are investing a lot of energies to create an inviting community to ensure that they can be privy to opportunities, by incorporating into their lives, activities and experiences from across genres like Sport, Cinema, Arts, Theatre & Music.

        Disclaimer

        1. Contributions once made cannot be refunded or cancelled.

        2. Big Tree Entertainment Pvt Ltd (BEPL) is facilitating the transactions on the platform www.in.bookmyshow.com. The proceeds of the same will be used for the benefit of certain sections of public / charitable purposes (“Purpose”).

        3. BEPL may at its discretion either (i) donate the proceeds collected to entities, persons, organisations, trusts engaged in activities directly related in the furtherance of the Purpose (ii) by directly undertaking/engaging in activities which are related to the Purpose .

        4. Persons, entities, organisations, Trusts to whom BEPL makes such voluntary contributions have represented to BEPL that the end use of such contributions will only be towards the Purpose.

        5. BEPL expressly disclaims any and all liability and assumes no responsibility whatsoever for consequences resulting from any actions or inactions of any other person, entity, and organisation or trust that it may engage with.

        6. By proceeding to donate the money, you do so at your own risk and expressly waive any and all claims, rights of action and/or remedies (under law or otherwise) that you may have against BEPL arising out of or in connection with the aforesaid transaction.

        7. BEPL will not be held responsible for the issuance of 80G certificate.

        8. For any queries, kindly write at [email protected].
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