Prakriti Foundation hosted the Park's New Festival for the first time in 2007. In the past two years, we had presented works by leading performers like Dr. Mallika Sarabhai, play by the Vayu Naidu company U.K, a solo performance by Preethi Athreya, Dance performance by Dance Routes Bhubaneshwar showcasing the Raghurajpur Lila Project by Dr. Rekha Tandon, Play – ‘Jazz’ reminiscing on the blue and Jazz players/singers in the 50 & 60’s of Bollywood by Ramu Ramanathan, about Ram a play by Anurupa Roy, Padmini Chettur’s group dance performance ‘Pushed’, an experimental Kathakali performance ‘Buddha Chartitram’ by Probal Gupta, an installation work ‘On Seeing’ by Zuleikha Allana and Play – ’60 Seconds Deep’ by Jaimini Pathak. The Park’s New Festival was also presented in July 2008 at Delhi with the excerpts of the Park’s New Festival edition I to a wide critical acclaim. "We are proud to present the Park’s New Festival Edition III with an exciting range of varied international performances. Ranging from Germany to Korea to United States of America this years artistes are enthusiastic to show and share their work with us. Since the new India of our times is now a cultural tipping point for world cultures to come and engage with our audiences, allowing us to partake of the many experiential global cultural performances. While we continue to send the ambassadors of culture from India, I am delighted to say that the Park’s New Festival has become a space for contemporary work from the globe, to be presented to discerning Indian audiences” Ranvir Shah PRESS COVERAGE FOR THE 2009 FESTIVAL Click on a thumbnail for a larger image.
FEEDBACK FOR THE 2009 FESTIVAL Dear Ranvir,
THE PARK’s NEW FESTIVAL Edition III
2nd Dec
Modern dance choreography of eight dancers by Park Hong-Ki of the Daegu City Modern Dance Company in Daegu, Korea which mixes memory and movements to skillfully transform a childhood game into the aesthetics of contemporary dance.
3rd Dec’09
The lost art of magical storytelling in Urdu, revived recently to great national and international acclaim. Popular in India since at least the eleventh century, the romance acquired immense prestige because of Emperor Akbar’s personal interest in the form. With its transmission into Urdu, the Dastan of Amir Hamzah came to acquire the mammoth, epic proportions that are peculiar to Indic story-telling. As well as being performed they also came to be printed. Completed in 1905, the forty-six volumes of the Dastan-e-Amir Hamza were an extraordinary achievement: not only the crowning glory of the Urdu dastan tradition, but also surely the longest single romance cycle in the world literature.
4th Dec
A monologue by H.R.Britton based on his visit to India and going to pilgrimage sites as a wide-eyed seeker, and about the awkward situations he got into with his naiveté.
5th Dec
Tilt: a dance performance in the round. Using the movement vocabulary of Bharatanatyam as a starting point, it attempts to discover fresh dynamics and create new perspectives, both, in the way that it is performed, and in the way it is viewed.
6th Dec
“The very Lover (Shiva), impelled by a desire to enjoy himself, assumes a reverse position and becomes the Beloved (Shakti), occupying the same beautiful place.” This verse from the opening of Amritânubhava by Jnâneshwar (13th c.) is inspiring the present performance. Though Shiva and Shakti are associated with seeming polarities like consciousness and energy, meditation and dance, asceticism and eroticism, silence and the violence of cosmic dissolution, terror and seduction, “their duality remained undivided”, as Jnâneshwar has it. ShivaShakti’s endless play of delight, disguised as longing and union, is beautifully expressed in the image of Ardhanarishwara. The present performance offers an interplay between North-Indian râga’s in two sets, each of which is related to Shiva and Shakti: Bhairav and Bhairavi; Shankara and Durga. The striking feature of the râga’s Shankara and Durga is that their main tones are complementary: Sa, Ga, Pa and Ni in Shankara, and Sa, Re, Ma and Dha in Durga. Together, they form the full musical scale. At the same time the performance is an interplay between an Indian instrumentalist and a European one, virtuoso players of the sârangi and the alto oboe. The latter instrument is related to the nâgasvaram and the shehnai, and the former to the lute and violin. Finally this ShivaShakti performance is an intertwining of Indian and European music traditions, the great arts of râga and tâla, and of polyphony and dialectic composition.
6th Dec
Love, Death and the Devil is a five-part series of dance performances. They create whimsical worlds with beautiful – comical –surreal scenes, working along the border to visual arts, painting, photography and film. The actors move with a reduced, formal language of movement in engrossed artificial worlds, turning to the absurd when confronted with mundane concerns and their various states of emergency. Tension mounts, at all points ready to break out – into comical or dramatic directions.
8th Dec 2009 Modern dance choreography of eight dancers from Hong’s Dance Company Korea which mixes memory and movements to skillfully transform a childhood game into the aesthetics of contemporary dance. (in collaboration with InKo Centre)
9th Dec 2009 - Maarten Visser is an improviser who specialises in contemporary composition and saxophone techniques. He performs regularly with Keith Peters & Jeoraj George.
10th Dec 2009 A monologue by H.R.Britton based on his visit to India and going to pilgrimage sites as a wide-eyed seeker, and about the awkward situations he got into with his naiveté
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You can contact Prakriti Foundation for more details at : 15, Race Course Road |
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