Nritarutya presents
Parayog 4
Kamani Auditorium, 7pm
April 4, 2014 Delhi

March 31, 2014

After a successful premiere at Bangalore, Indian Contemporary dance company Nritarutya brings PRAYOG 4 to Delhi, traversing wind, water and space. Watch the innovative, experimental and enigmatic creations that explore the aesthetic explorations of contemporary times.

At: Kamani Auditorium, 7pm. Free entry. 
Info: info@nritarutya.com  / www.nritarutya.com

Nritarutya choreographic repertoire has played a pivotal role in shaping the landscape of Contemporary Dance in India. The wisdom of Indian traditions holds layers of interpretations that hold relevance even in modern times. Nritarutya's vision looks at bringing about innovation in tradition by making the ancient philosophies relevant in the present world through their artistic creations. Prayog is one of its initiative that showcases the contemporariness of India in a global context through its purpose, performance and presentation.

Prayog, in its format of short unconventional pieces gives the choreographers and dancers a forum for experimentation on various facets of dance making and performance. This year the creative process has been a collaborative effort of more than fifty talented artists hailing from diverse fields ranging from fine arts, literature, visual arts, architecture, crafts and performing arts. The inter-disciplinary approach has resulted in newer possibilities and interpretations with
every artist contributing with their research, ideas and talent. Through this dynamic presentation Nritarutya attempts in breaking boundaries of classifications and limited definitions of art.The Prayog series has been critically acclaimed for nurturing bold, imaginative and intuitive artistic creations. Now in its fourth edition, the performance comprises of extraordinary, quirky, surreal and out-of-the-box choreographic works.

Prayog - 4 is furthering on the creation of a unique, unconventional dance brand that would effectively fuse the classical with the contemporary, the reverential with the stylish and lead the Indian contemporary dance ethos into new directions.

The three choreographies draw inspiration from the choreographers’ research, observations and personal experiences. The choreographers and dancers for this production are trained over a period of one year in different disciplines like Carnatic music and its rhythmic arrangements, Yoga, Body conditioning, Bharatanatyam, Abhinaya, Kutthuvarisai and percussion instruments. Prayog 4 will make use of aerial set up and live folk music in one of its horeographies.

The works are a progression in the experimentation by the choreographers in different arenas. While Madhuri Upadhya’s work is a continuation of her experimentation with 2 dimensionality, Sathya BG uses the complexities and intricacies of dance movements.


Matsyaangnaa

Chakra

The works
Matsyaangnaa
For choreographer Madhuri Upadhya the question has always been, “What is the thin line dividing reality and illusion?” She explores the mystical mermaids to depict the indulgence of six sins or enemies which prevent a human from attaining Moksha. The concept is inspired from the Vedic philosophy of Arishadvarga, the six emotions of desire and passion - kama (lust), krodha (anger), lobha (greed), moha (attachment), mada or ahankara (pride) and matsarya (jealousy).
Music: Praveen D Rao
Costumes: James Pereira
Storyline: Vinayak Joshi

Trishanku

Trishanku
Madhuri Upadhya questions her sense of belonging in her life and looks upon the mythological character of Trishanku for reinterpretation. Trishanku was stuck between heaven and hell and got a new world to inhabit albeit upside down due to the sins he committed. This piece seeks to explore two different time zones through a classical section and the modern times with contemporary dance. The protagonist is restricted to a circular space on stage with a restless energy experiencing the phenomenon of not belonging anywhere.
Music: Raghu Dixit
Bharatanatyam Choreography: Kiran Subramanyam
Costumes: Sonali Sattar and Himanshu Dimri, Hidden Harmony.

Chakra
Sathya B G works with the belief of 'what goes around comes around', making use of the circle as a shape to interpret his movements. His visual for this pure dance piece is a never ending cycle of actions and its repercussions, explored through idioms of breath, rhythm and movements. The cyclic deconstruction of the Bharatanatyam Adavus makes for an interesting combination tracing the evolution of different dance forms.
Music: Various Artists - Guem, Sarvar Sabri and Pete Lockett
Costumes: Ashwin Kumar

The Choreographers
Madhuri Upadhya
As a choreographer, Madhuri Upadhya is working on a vocabulary that melds dance, fine arts and visual arts. Her natural interest in painting (reinforced with a degree in Fine Arts from the Karnataka Chitrakala Parishath) expresses itself in myriad patterns in her choreography. Classical dance training rounds out her accomplishments, giving her creations structure and grounding. Madhuri's approach to contemporary dance draws from Indian folk culture, puppetry, and even from an individual dancer's movements. “Chittara” and “What Do Puppets Do?” are representative of her work, the former being one of Nritarutya's most acclaimed pieces.

Sathya B.G
A double post graduate in Systems and Marketing Management and a diploma holder in multimedia, Sathya BG has undergone training in many physical disciplines. He has also dabbled in movies and theatre and earned accolades for his acting skills. Sathya's talents extend to graphic design and editing music as well. As a choreographer, his works are physically demanding and spatially dynamic. His well-known creations include Mars, Tha, 3 Sides of a Coin and Intersection, with Mars being one of the most popular works from Nritarutya's repertory.