31st August 2016
S.No. Company/Choreographer Name of the Performance
1 Avantika Bahl Dance Company / Avantika Bahl Say, what?
2 Atul Kumar Where Should I Look?
3 Surabhi Jain Fitting Room
4 Ronita Mookerji Who?
5 Virieno Christina Zakiesato F4
6 High Kicks - Aparnaa Nagesh White Noise
7 Riya Mandal 23.4/15.8
8 Priyabrat Panigrahi What are you here for?
9 Meghna Bhardwaj Edges (Duet)
10 Nachom Arts Foundation / Surjit Nongmeikapam Folktale
11 Jyotsna Rao Spider Solo
1st September 2016
S.No. Choreographer Name of the Performance
1 Bangalore Dance Collective / Abhilash Ningappa Architect of Self Destruction
2 Satakshi Nandy Strange Fruit
3 Sahiba Singh Parallel Intersections 
4 Anuradha Venkatraman To See
5 Manju Sharma Rush Hour
6 Shruti Maria Datar Phi
7 Choreotheque/Anish Popli Mindscapes
8 Mirra The Conveyor Belt
9 Parth Bhardwaj Urban Chaos
10 Joshua Sailo Wail
11 Diya Naidu Hands and Face Project

Performances on the 31st August 2016

Choreographer: Avantika Bahl
Name of the performance: Say, What?
Note on the Performance:
‘Say, what?’ is a piece that attempts to deconstruct the notion of communication. And what that means for a hearing individual. And what that means for a deaf individual. It focuses on the negotiation between deaf culture and hearing culture. It is interested in what emerges when those two worlds collide.
Suspended between sign, movement and the spoken word, it examines how a ‘hearing identity’ is based on the lack of an entire body of language. The work aims to unravel the equation and the tension that rests between the two poles of transmission.

Choreographer: Atul Kumar
Name of the performance: Where Should I Look?
Note on the Performance:
"Where should I Look?" project was an outcome of a research program with the students and faculties of PARTS, Brussels, Belgium, conducted in Auroville, recently. Started with the foundation of space, form, narrative, composition and structure, the piece revolves around the state of a female body, represented through the medium and view of a male body, politically, placed in the modern Indian society. It presents an interesting perspective on the perception of Gender and their situation in current Indian society.  
The narrative draws inspiration from the story and state of Panchali (Draupadi) after the disrobing ceremony, placed in that era. Parallels from Panchali’s story can be made to events from contemporary Indian society that show us that though it has been almost three thousand years since the events of the Mahabharata unfolded, society has not come much further in terms of the way women are treated. Take Panchali’s fate after her husband loses her to his opponent in a game of dice. Her husband, after wagering (and losing) everything he owned, his brothers, and himself, wagers his wife, Panchali. After he loses her too, his opponent tries to harass her by removing her sari. Though her prayers are answered and the sari becomes infinitely long, no one present in the court attempts to save her from this act of sexual harassment. 
Laxmi Oraon was, however, not as lucky as Panchali. In 2007, Oraon, a tribal woman, was rallying for better tribal rights in the north-east Indian state of Assam, when she was stripped naked and beaten by a violent mob, as others looked on at the incident as if it were a spectacle. Numerous other cases of eve-teasing are proof that many women are still subjected to the same public sexual harassment that Panchali suffered. Though Panchali was never raped, she received more than enough of her share of unwanted advances by men, a phenomenon that seems to be prevalent even in today’s society. 

Still, there are many incidents prevailing in modern society of public shaming and suppression. Where are we leading to? What are we looking for? It's not only that the character of Panchali has to look for but we also need to ask ourselves. This piece keeps on questioning the existence of paradoxes within the female character - Abused yet confident, fierce yet compassionate, mysterious yet simple, confused yet determined.

Choreographer: Surabhi Jain
Name of the performance: Fitting Room
Note on the Performance:
Fitting Room
Society demands conformity. It can be a very difficult choice to make, whether to compromise your values and what is real to you in order to belong. Sometimes you find yourself in situations where the thoughts of judgement, fear of rejection and self-consciousness make you almost incapable of listening to your soul and what you truly stand for.

Jenness (1932) was the first psychologist to study conformity. His experiment was about an ambiguous situation of a jar filled with beans. He asked participants to guess the number of beans in the jar and then asked them to provide a group estimate for the same. He then again asked the participants individually if their guess had changed. Almost everybody’s estimate had changed and become closer to the group estimate.
I feel that is so true for today’s society at many levels. People always try to fit in with each other and everyone wants to be like everyone else. We look to others for approval of our own actions. From the simple things like how to dress up to serious decisions like whom to marry are governed with how this society is going to judge or react.

This piece also talks about a sense of security which people feel when they follow a group or the majority. Even when there isn’t a right answer, people tend to stick together. I conducted a study with my dancers and asked them if they felt the same. Various things came up, for example, women don’t like wearing a bra all the time but they do so because loose hanging breasts or showing nipples is not considered appropriate in the society. Other things that came up were dancing in a concert where no one else is dancing, talking to strangers, singing in public, walking barefoot, staying in a bad relationship and so on. The most striking one was when one of my friends said she feels awkward while just standing in a public place without a smartphone.

Why people choose to comply or yield to group pressures, regardless of whether they agree or not, happens for many reasons. They want to be liked or they don’t want to be left alone or they want to be accepted or they want to establish a relationship with the group. There is a threat of rejection or isolation because of which they think it’s better to not go against everybody else and follow the majority.

Choreographer: Ronita Mookerji
Name of the performance: Who?
Note on the Performance:
—> I have long been thinking, with respect to my present life, a question as simple as,
Who am I? What defines me?
So, how do I visualise myself? Do I see myself with my own eyes or someone else’s eyes? What do I see, when I see the mirror?
Tatum says, “ The answer largely depends on who the world around me says I am”
This triggered me to delve deep into my thought process, understanding and reasoning to reflect on this question. To be more specific, what is my real IDENTITY in today’s world and society?
Erik Erikson, a developmental psychologist says: “Formation of Identity is one of the most important part of a person’s life.”
In today’s rapidly progressing, globally developing Contemporary India, one has to play several roles and can’t have a simple life defined by a single identity. We can’t be one character or do one work at a particular given time and space. One is challenged to be well equipped to be able to live through different situations and experiences and changes. One needs to be constantly developing, educating themselves, learning and unlearning, primarily, multi-task. For example, just a housewife or a farmer or a teacher. This leads to not having one constant but having rapidly changing multiple realities and lives for survival! This in turn leads to a highly suffering identity or personality trait/ character due to no neutrality and high-strung potential changes with respect to time, amounting to a crisis.
What is Identity Crisis?
“It is a period of uncertainty and confusion, in which a person’s sense of identity becomes insecure, typically due to change in their expected aims and roles in the society.”
As I read this, I reflect on myself and existence as an artist, a dancer/ performer/ choreographer/ teacher which are but a few roles that I play in my day to day life. I question myself as to who am I today, right now (which changes every given time)and to describe where I belong or where I return to as my centre, is a challenge I face every day. Hence, I choose to explore this idea of Identity and everything associated with it, to create a dance piece which is personal and introspective. Through this work I would like to challenge myself artistically, using different contemporary techniques of dance and physical expression to define who I really am and what people perceive of me, thereby, intriguing the audience to question themselves this simple question of “ Who they are and where do they belong?”
Dance being the physical medium/language that brings the performer and the audience to come to a tangible form of exchange of energies that lead to an unknown balance of energy, a level at which emotions can be exchanged-a visual motivation to question themselves.
Erik Erickson defines: “Those going through Identity Crisis are exhibiting confusion. They often seem to have no idea of who or what they are, where they belong or where they want to go.”
At this point, I would really like to explore the lifestyle and culture of a ‘Gypsy’ as starting point of this dance piece.
A Gypsy is defined as a member of a tribe of people found throughout the world who has no permanent home or someone who shares this wandering life-style.
A gypsy will change occupations and activities adapting to a changing society’s needs because they depend on people in that society for their livelihood. For me, their way of life resonates and reflects this idea of an ‘Identity Crisis’.  They are referred to as nomads with no constant belonging or living.
This being the creative base, I would like to explore my personal experiences, seeing them from inside out and outside in to find out what is my true identity and where lies my centre of life. A quote says: “In these uncertain times, it is an imperative consideration because, when things are seemingly out of control and the centre has been lost, there is a place within you to which one must return.”

Choreographer: Virieno Christina Zakiesato
Name of the performance:  F4
Note on the Performance:
The Fight-Flight-Freeze-Friendly Response is a series of instinctive reactions that a person may experience when confronted to an external stress or stimulation during a survival situation. The body’s own response in such situations can either result in an instinctive peak when in stress such as Fight, Flight, and Freeze or when relaxed it allows a calm (i.e. Friendly) response.  We experience at least one of these reactions on a daily basis yet our innate ability to respond to these situations usually goes unnoticed by our conscious mind.

My research focuses on the effects of these instinctive reactions and their physiological responses. Some examples of these physiological responses have opposing effects which are:

  • Increased heart-rate or slows the heart rate
  • Increases blood pressure or decreases the blood pressure
  • Shuts the gut down or activates the gut for digestion
  • Tightening of the muscles or activates the relaxation response.

The aim of this research and of this performance is not to compartmentalize each instinctive reaction by illustrating them separately from one another (e.g. “This is flight. Now this is fight. Now this is freeze”), but to create a performance that encompasses all four of these instinctive reactions and their physiological responses, to which everyone can relate.

My research draws from my own experience and memories.

Choreographer: Aparna Nagesh
Name of the performance:  White Noise
Note on the Performance:
White Noise - a constant background noise; one that drowns out other sounds. Meaningless or distracting commotion, hubbub, or chatter. We live in a bubble of noise, a constant stream of real & digital chatter. Yet, loneliness and the feeling of being alone have only increased. Every conversation we have leaves us feeling more alone. We rant & rave our opinions, struggles, problems on social media, but pretend to have exciting lives filled with laughter, friends and colour. Our minds are on the brink of suicidal depression, bordering on schizophrenia. Schizophrenia is described as a mental disorder characterized by abnormal social behavior and failure to understand reality. Common symptoms include false beliefs, unclear or confused thinking, hearing voices, reduced social engagement and emotional expression, and a lack of motivation. People often have additional mental health problems such as anxiety disorders, major depressive illness or substance use disorder. If we go by this description, then we are all schizophrenic because we are all hearing voices in our heads, voices that drown out our actual sound.
White Noise talks about all the noise that we create, without really listening to it. All the conversations that we have without meaning or intention and ultimately find ourselves smothered in a silence of our own making. A silence that is surrounded by noise, but a silence that ultimately leaves us depressed and suicidal.

Choreographer: Riya Mandal
Name of the performance:  23.4/15.8
Note on the Performance:
By means of movement, this work aims to understand conformity and the genesis of norms in a society through the simple image of hens trapped inside a cage. The choreography explores the possibilities of understanding the mundane everyday lives of human beings through the reflection of the image of the caged animals.

Choreographer: Priyabrat Panigrahi
Name of the performance:  What are you here for?
Note on the Performance:
This is a kind of question “What are you here for?” That million across the globe have desired to know for decades. You must not only look at the surface of your life, but know that there is something greater inside of you that lives and you must give birth to it. You must be present to receive the present that awaits your arrivals. Let yourself go feel the freedom, take the chance what are you here for? Which means the ups and downs to get to get to that place of purpose.

Choreographer: Megna Bharadwaj
Name of the performance:  Edges (Duet)
Note on the Performance:
This work emerges from movement explorations coming out of imagining a constrained body.  A body that is stuck, tied, pushed, controlled, and limited. First proposed at GSDR 2015, it was a solo created out of movements that were negotiating a grid-like space. At this moment, Meghna brings forth a duet, danced by herself and her long time dance friend Sanchita Sharma, wherein they weave together the impulses emerging from feelings of ‘stuck-ness’, ‘bounded-ness’, and ‘flat-ness’, while being the bodies on the ‘Edges’.

Choreographer: Nachom Arts Foundation
Name of the performance:  Folktale
Note on the Performance:
In this piece we go through a thorough process in which we try to exploring a fruit. Here we are trying to understand it by studying its each characteristic. When we take a lemon we see that its smell gives us a pleasant feeling. So we went further trying to feel what kind of impact it gives us on our body and mind. In this piece we try to explore its properties such as the sourness, the bitterness, the fibrous feel in it etc. the exploration gives our body a different kind of movement, and a sensation that was hidden deep inside our body is triggered. So these sensations and the movement that comes along with experiencing the lemon, we have expanded it more into a movement, giving it a form, internalized it, and passed it on to the audience. With the sensations that we feel here, also comes the emotions, the association, and the rasa through which we go through. So the piece is telling a story of the lemon, trying to give it an identity as who it is. Like every human being has several qualities, some good, some bad, some dangerous, some pleasant, etc, and sometimes it becomes difficult to understand that person by just one behavior, the lemon has also shown us different characteristics and properties which we are trying to tell to the audience and make them also feel it and understand it.
Here we wanted to present the story telling method through movement and expressions using different kind of body languages. But the presentation has been done in a very traditional and indigenous way. In old days in Manipur, an elderly would sit down on the “Phak” (a traditional mat), surrounded by children and would tell them the folktales. So we adapted that part of the tradition put it in the act as our way of presenting the story of the lemon.

Choreographer: Jyotsana Rao
Name of the performance:  Spider Solo
Note on the Performance:
“With Spider Solo, I explore and investigate on the Corporeal influences and changes of being a human in a bustling city like Bangalore and How does it influence my body to move through constricted roads in an anamorphic way on vehicles through GPS operated road maps, WIFI enabled spaces, Gadgets spurting out of my bags, that imagining a life without these is almost impossible?!
Bangalore is pacing with fast momentum towards sporadic growth which to me seems robotic and superhuman.
And I also think that within a well-connected city there is disconnectedness and isolation and hence this WEB (internet) becomes our safety net or comfort zone.
 I Draw inspiration from the Spider and its static and sharp movements; its ability to stay well connected with its surroundings as the corporeality of my piece.”

Performances on the 1st September 2016:

Choreographer: Abilash Ningappa
Name of the performance:  Architect of Self Destruction
Note on the Performance:
“Architect of Self Destruction” talks about an experience of movement. It’s about space and self in the same space. The self and space can never separate. In the process of destruction, the space and the self is bound to be destroyed. We will trace the process of destruction through evolution, social system of traditions and movement experiences. We look at destruction and self-destruction as an experience of breaking systems.”
Destruction is a process akin to our perception of progress and development. Every movement is a projection stemming from the action of either destroying or creating. Change happens by denying certain things, and how does one change things- by letting them occur naturally during the process of creation or come upon something completely new. Even as the adage goes- about living inside the box or outside the box; let’s break that box.
Destruction creates space. A movement or action, which describes destruction, is used as a metaphor in order to understand destruction. When bodies collide or touch in a certain situation with the intention of breaking things; like anger or stress, a space gets created in order to create an absence or emptiness which you may need to fill with new information and a new approach. Change always occurs in a circle and comes back to where everything starts and with destruction you can keep yourself away undoes this cycle of renewal and revisiting a point on the infinity of things.
Somewhere in the back of our minds, we know that creation and growth must be accompanied by destruction and decline. Destruction is often associated (and conflated) with evil. More troubling — it is often associated with pain, even if there is no evil intent involved.
Self-destructive behavior is a widely used phrase that conceptualizes certain kinds of destructive acts as belonging to the self and space around oneself. Destruction isn’t this messy simply because we are unkind or evil. Destruction is fundamentally messy, and keeping it gentle takes a lot of work. Let’s look at Jenga as a Metaphor to explain why destruction is never linear. The game of Jenga illustrates why it is so hard to keep destruction to linear- dismantlement forms. Once one throws in an element of creation in parallel (removing blocks and stacking them on top to make the tower higher), one is constrained. If one had the luxury of time, they could un-stack all the blocks carefully, and restack them in a taller, “hollow” configuration with only 2 bricks per layer. That’s graceful reconstruction. The world rarely allows us to do this. We must reconstruct the tower while deconstructing it, and eventually the growth creates the kind of brittle complexity where further attempts at growth cause collapse.
Destruction is a practice to make one stronger through movement art practice. Movement evokes physical changes, which are conducive to growth. Not always performatory but about feeling the movement physically as a bodily experience. Destroying conventional ways of moving or creating movement creates a new movement experience. Destruction of this viscous cycle is the only way forward. In a group of performers that are experiencing a stressful situation is bound to lead to destruction that in turn leads to creation.
Destruction is a process as well as a creation. In a more practical sense destruction is used in order to understand space in the form of emptiness, freedom through movement research. During the performance work we work on methods, which triggers emotions, a game or scores where the task is planned and we discuss various aspects of destruction and result. Physical experience is the output and observation. A structured destruction leads into creation of the performance work.

Choreographer: Satakshi Nandy
Name of the performance:  Strange Fruit
Note on the Performance:
'STRANGE FRUIT' is inspired by the poem of the same name written by Abel Meeropol, who wrote under the pseudonym 'Lewis Allan'. The poem was written in 1937 as a protest against the lynching of African Americans and the racism they have been, and still are, subjected to. The piece is also inspired by Choreographer Pearl Primus' work on the said poem.
 This piece questions the violence and discrimination, mainly within India and other Third World countries,  that are caused by creating minorities and marginality on the basis of caste, religion, gender, nationalism, academia, or any sort of privilege that rejects the existence of the said minority established by a higher authority. Marginal people are constantly fighting to get some validation for their existence, but always seem to come under the radar of the government and the privileged for not being ‘valid’ enough. The piece aims to help contemplate the need for such validation. For example, a low caste person, a Muslim, a Manipuri, Kashmiri or an African, a tribal or aboriginal person, a woman, a poor person, or a non-academic person are always having to confront scrutiny and judgment for being who they are without their consent or choice. This dance and movement piece introduces the most marginalized and dispensable character, i.e., of a least privileged, aboriginal and the least intellectual woman, who enacts a part of the regular abuse and discrimination she undergoes in her life within the piece.
The dance rests on the body of a woman who is abject to continuous surveillance. This is the point where the piece connects the larger concept of national identity to a personal story of a woman who is dealing with a marginality that she herself never intended to create. The said body is under constant trauma of having to calculate her movements and intentions so as to not cross social and moral lines. The protagonist is a native, tribal, “savage” woman that has tolerated years of sexual male dominance by upper caste, privileged, powerful people throughout her life. For most of the piece there is a constant sense of urgency and paranoia that this female body undergoes. There are traces of retaliation and aggression in the piece but that is soon subdued which results in the performer ending up being submissive, polite, and obedient to protect her chances of survival.

Choreographer: Sahiba Singh
Name of the performance:  Parallel Intersections (working title)
Note on the Performance:
Parallel Intersections (working title) is a piece about overlapping realities. Surrounded around the idea of finding love at the wrong time, or meeting a loved one, not quite in the same space, choreographer Sahiba Singh explores the idea of parallel lives that tie us within an unknown and an unspoken bond of familiarity and longing. The piece is a non linear narrative depiction of ‘time- space’ intersections. Those that are not so destined to meet, yet intersect because of the powerful force of love that can transcend many universes to merge in one.
Choreographer Sahiba Singh takes inspiration from pedestrian movements, literature (Stephen Hawkins, Carlos Castenda, Richard Dawkins), theatre and a clear narrative using imagery, spoken text and a written story board. She visualises this piece as a motion picture or even a novel and hence the power of story board reflects well in the work.
The piece is a work in progress at the moment with emphasis on other collaborative factors like theatre, script writing, creative text, live music and contemporary dance vocabulary.
The piece consists of 5 dancers, 2 males and 3 females, each trained in contemporary dance technique. Sahiba is making sure that the entire cast takes enough number of theatre sessions with some of the best dramatologists in the city (Bangalore) as it is important for her that while the movement vocabulary is an intrinsic part of the cast,  so must be the dramatology in it. There should not be an obvious difference between the two (dance and theatrics) once the cast performs it on stage.
Choreographer Sahiba Singh feels that if the concept is abstract (as this one), it is even more important for the choreographic narrative to be as simple and clear so as to create an experiential response from the audience.
Parallel Intersections also goes deeper into the questions of quantum physics and the multiverse theory but Sahiba chooses to narrate it through 2 lovers instead of making it extremely scientific, although, she believes that the other end of the scientific spectrum is nothing but science explained through art. Not all answers lie here with us, and art just adds another perspective to look at questions we have been asking for eons.
Through this choreography, Sahiba’s aim is to create a visual treat, a visceral response, a dialouge between the scientific and the artistic community and to have different people from different backgrounds and age, relate to excerpts from the piece and resonate with them through ther lives. The premise of the piece is scientific, however, joined together through a common thread of relationships – something that we all relate to at some point. Parallel intersections poses the idea of a multiverse theory but through a personal narrative of love lost and longing which the choreographer feels, may strike a deeper cord with the audience without losing its premise of the questions of quantum physics.
Choreographer: Anuradha Venkatraman
Name of the performance:  To See
Note on the Performance:
 “To See” is an exploration into the experience of the world around us and the value of things using the natural five physical senses and the acquired political, social, and cultural ones.

What we sometime fail to acknowledge is the constructed nature of the reality that surrounds us. This performance delves into this empire of axioms that we have created for ourselves using the Voyager Golden Record as a catalyst.

The Voyager Golden Record was sent to outer space in 1977. It compiles a comprehensive catalogue of being human- like greetings in different languages, the best music representing diverse cultures and pictures of the human body. What was selected was a result of deep introspection. The idea was to send across a friendly message to any intelligent extra-terrestrial existence. Everything negative or evil was avoided, like the representations of war to reflect Earth as a peace-loving planet. With regard to the human body, the shields of morality were raised- the woman's body was covered and the genital representations avoided. In short, the human race decided to send to space a time capsule of our celebrated existence for alien consumption.

Now, what if the aliens did get the record and played it, and hated it! What belief do we hold that what we consider loved, revered and symbolic, will be perceived as is by others elsewhere?

This production marks this question as its foundation- perception as an eternally fluid understanding of physically accumulated information.

  • A famous composition in Carnatic genre of music and often performed by Bharatanatyam dancers is Gopalakrishna Bharathi’s Varagalammo Ayya. The melody and words of which can melt anyone, describes a dalit devotee of Shiva pleading to enter the temple. The almighty relents and clears the path for him to get a glimpse from outside. Does this composition, which for years has been interpreted as warm and comforting, question the society for even creating such demarcations based on their birth?
  • A number of Sringar- based poetries, which were offshoots of the Bhakti traditions depict the beauty of making love. They are flowered with intricate details and are often interpreted as spiritual liberation - the union of the Jeevatam with Paramatma. Could these poems be read to be perceived as something dark instead of free? Could these be seen as a representation of a patriarchal society’s sexual exploitation with poetic license?
  • Wars and heroism has been part of the mankind’s cultural narrative across geographies. Poems have been written and paeans have been sung for heroism in wars. In India for example there are thousands of “hero” stones glorifying violence and “sacrifice”. “if you win the war you get wealth. If you lose and die you get beautiful women. This body can be destroyed in a moment, why hesitate to sacrifice it!” says one such hero stone. But today we need to revisit this glorification and examine why violence is celebrated when perpetrated on our behalf but criticized when it is perpetrated on us. One man’s freedom fighter they say is another man’s terrorist.

Using these motifs one personal, one inter-personal and one communal, the performance tries to explore how things get the values they possess, and how like x in algebra the search for constancy is eternal.

Choreographer: Manju Sharma
Name of the performance:  Rush Hour
Note on the Performance:
During my residency at Gati in 2015, as I was struggling to zero down on what choreographic work I wanted to create, I realized what had begun to interest me the most was my everyday travel in the metro. While pondering over the day on my way back home, I would notice the pushing and pulling, the rush, the tiredness, the anxiety, the excitement, the relaxation, and all kinds of emotions and activities around me in the metro. Entering a metro would feel like entering a new world of curiosity, observation and rhythmic motion. I began to question what physical and sensorial experience such a setting could bring the body. I got interested in exploring the impulses a metro ride could provoke in my movements.
Having delved into these questions for over a year, I have begun to understand metro as a metaphor for the society that is crammed, and where bodies are constantly running to ensure a space for themselves. Amidst the anxiety that such rushing creates, I also sense humour of our monotonic lives. It is these monotones, palpitation, thumping, and longing that I want to capture in an ensemble work I propose to extend out this work-in-progress.

Choreographer: Shruti Maria Dattar
Name of the performance:  Phi
Note on the Performance:
Phi’ the divine proportion, is beauty in the eye of the beholder? ‘Phi’ is a Dance Theater piece which aims to abstract aesthetics of Dance and theater. Exploring ideas of perfection and proportion in relation to images and stories. The piece aims to mimic these very images and deconstruct them. What are the implications of these images? What is perfection? Are some of the questions explored through the work. Performed as a woman examining herself in front of the mirror the piece poses questions on the Idea of The Feminine we are constantly exposed to. 

Choreographer: Choreotheque/Anish Popli
Name of the performance:  Mindscapes
Note on the Performance:
The body is an archive of memories. Memories superimpose various layers in time, impregnating the body with their history. My work (presently untitled) explores the memories locked within the body. I used the word impregnate, inadvertently assigning memory a feminine character, however my work looks at memories as asexual and transgender, inscribing themselves on the mind, staying there to surface when triggered. It explores the process of what happens to the body when memories are triggered, does it reproduce the reactions experienced earlier or does it produce newer/ different reactions to memories diluted with time. A work in progress, it is experimenting with the roles that male and female minds play at retaining certain ‘types’ of memories. It questions the gender of experiences that form memories and attempts to delve into the real, virtual and fragmented bodies, juxtaposing the real with the virtual as an extension of the physical body.

Choreographer: Mirra Arun
Name of the performance:  The Conveyor Belt
Note on the Performance:
The Conveyor Belt, a physical theater piece that delves with the idea of over production and mindless consumption. Both of which is economically manifested in the chronic purchasing of new goods and services, with little attention to their true need, durability and the environmental consequences of manufacture and disposal. We enter into a hedonistic world of ‘created wants’-fulfillment which creates further wanting in an attempt to bring lasting happiness
The piece also looks at the working conditions of Assembly line system which generates a regiment way of functioning, revealing how such dull, mechanic labour, that requires no skill, creativity or thought, de-humanises people, reducing them to little more than cogs in a machine.
’’Our enormously productive economy demands that we make consumption our way of life,  convert the buying and use of goods into rituals, seek our spiritual satisfaction and ego satisfaction in consumption. We need things consumed, burned up, worn out, replaced and discarded at an ever-increasing rate.’’ - Victor Lebow, Economist
Thought process
As Marx says, “From the instant he steps into the workshop, the use-value of his labor-power and therefore also its use, which is labor, belongs to the capitalist."
The main aim of all countries being GDP, the focus is to increasingly produce and encourage consumption rather than a sustainable economic living. Excessive consumption leads to bigger houses, faster cars, trendier clothes, fancier technology, and overfilled drawers also increasing the GDP of an economy. It promises happiness, but never delivers. Instead, it results in a desire for more… a desire which is promoted by the world around us. And it slowly begins robbing us of life. It redirects our God-given passions to things that can never fulfill. It consumes our limited resources.

Choreographer: Parth Bhardwaj
Name of the performance:  Urban Chaos
Note on the Performance
We are a reflection of our cities and our cities reflect us" -   Aminah Ricks
Urban chaos reflects on the state of disorder or pandemonium that grips our ever expanding metro centres. The rapid urbanisation has exposed people to vulnerable lifestyles. Struggle, peace, monotonous lifestyles , heinous crimes & disorder encapsulates the soul of our cities and its people alike. Urban chaos finds its expression in the microcosm of fear & psychology of people, representing the macrocosm of our booming urban centres.

Choreographer: Joshua Sailo
Name of the performance:  Wail
Note on the Performance:
Wail is the result of an exploration in the movement of ocean bodies, and the systemic and complex relationships that thrive within the ecosystem. Looking at the volatile interference of human activity and its adverse affects, Waildraws upon these sources to generate movement  and juxtapose the ecosystem with ourselves in stories of abuse, misuse, dependence, co-existence, and the exercise of power in a personal struggle for survival and sustenance.

Choreographer: Diya Naidu
Name of the performance:  Hands and Face Project
Note on the Performance:
Most women, experience the following: constantly looking behind one's shoulder as we walk on an empty street,
Checking if the front door is locked almost obsessively before turning the lights out,
Dreading entering an elevator with unknown men,
Fear - general and constant fear,
taking ages to figure out what to wear- based on how much skin is revealed or covered - based on which area one is travelling to and using what mode of transport,
constantly monitoring other women -have they got home yet, are they safe and so on,
Humiliation and powerlessness at being eve teased, cat called and harassed,
self-derision from feeling this fear - calling ourselves paranoid and neurotic,
a sense that the roads are not ours.. Indeed public spaces are ours only if our activity is clearly stated and/or we are accompanied.

My interest is to explore through this piece - who or what are we afraid of? What is this fear? What do we imagine this threat to be?

In an India that has been divided based on caste and class for centuries, what happens when there is contact outside of the stipulated boundaries? 
One kind of result is the harassment and fear that perhaps are accentuated by eons of superficial boundary making. People are constantly trod upon, denied equal treatment and artificially separated - we have strict codes for how to interact with members of other socio- economic stratas.
An upper class or middle class educated woman will always have an employer- employee based relationship with a man of a poorer class.
An upper class man will have the same .Neither will interact personally and become friends. There will be all kinds of exploitation. Some subtle and some grotesque.
We have often never questioned how our social gatherings and events do not include our maids, drivers , security guards - people who are sometimes in our lives far longer that our invited guests.
Or how we never fall in love with a man or woman from a slum, or working in a neighbor's house as domestic help.
Our lives constantly include interactions with those from other classes and stratas but they are highly codified and strictly designed to allow for no real boundary breaking - no real friendship, intimacy or love.
What happens when these worlds are confronted with each other? When boundaries are tried and tested?
When someone no longer accepts being told exactly how to behave or put one's eyes down? 

The street often become this place where someone manifests their rage, where women feel unsafe - perceiving a danger and a resentment that couldn't possibly be caused just by that one interaction.
Eyes are used as weapons, hands too. Bodies must be covered, faces must not be offered to strangers - DO NOT LOOK INTO THEIR EYES!

The work will use footage filmed on the streets and public spaces to subtly present the situation of these worlds meeting - meeting through the moment, meeting through eyes and skin and hands.