Fabbrica Europa » Archive Attakkalari Centre for Movement Arts BangaloreBhinna Vinyasa

Bhinna Vinyasa could be described as a ‘realm of changing configurations / assemblages’. Bhinna Vinyasa explores metaphysical journeys prompted by internal and external forces resulting in profound changes in the lives of individuals and communities. Images from arts and literature morph with the recollections of contemporary lived experiences where the archetypes, mundane and the imaginary coalesce to give you an immersed experience. Mapping the fractured fragments of dreams, desires, hopes and stark realities in the context of rapid and often unplanned urbanization, environmental shifts and migration, Bhinna Vinyasa will lead you through an immersed visceral experience.

Unique movement vocabulary encapsulating the essence of Indian traditions and complex contemporary experiences are woven with layered visual images and surrounding multi-phonic sound-scape. In an allegorical narrative alluding to human situations and predicament, Bhinna Vinyasa mixes memory, experience and imagination of individuals caught up in tumultuous changes where locations and conditions are continuously shifting. Alluding to the imagined ancient idea of the ātman (individual soul) and paramātman (universal meta soul) as well as the rhizomatic relations in the “post-humanist future, in which the world has been enriched by a multiplicity of non-human agencies” Bhinna Vinyasa explores the notions of self through a continuous process of becoming and disappearing where the coordinates of time and space appear rather elastic.

Conceptualised and directed by artistic director of Attakkalari Centre for Movement Arts Bangalore, Jayachandran Palazhy, Bhinna Vinyasa is choreographed by him along with the immensely talented dancers of the renowned Attakkalari Centre for Movement Arts. Weaving his electro-acoustic soundscapes with elements of Carnatic Jathis and Alaaps, German composer Martin Lutz’s multilayered sound score is both provocative and alluring. Andrés Morte Terés, the dramaturg, has skillfully scrutinized the narrative to fit within the frameworks and language of the performative realm and closely watch over the cross-cultural references making it comprehendible for the global audience. Shymon Chelad’s imaginative lighting employs myriad shades of colour, texture and illumination to create evocative and transient images.