A man is found dead in an elevator. The cause of death remains a mystery. Suicide is likely, but there are no letters left to his family. Besides, there are some clues that he might have been moved to this place after his death. One peculiar thing is that the autopsy shows an image lasting for about 15 seconds that was stored in the brain of the deceased man. The image of a blue sky and a single tree with no shadow overhead is presented.

The piece is a work in progress by Moya Michael who was invited to work with the dancers Diya Naidu and Hema Bharathy for the month of July in 2008. The imagery and movement phrases are largely about the interaction of two physical bodies that at various points of the performance actually seem like one, this physicality borrows from the Indian mythological and religious characters of goddesses like Saraswati and her avatars as well as animalistic movements.

A man is found dead in an elevator. The cause of death remains a mystery. Suicide is likely, but there are no letters left to his family. Besides, there are some clues that he might have been moved to this place after his death. One peculiar thing is that the autopsy shows an image lasting for about 15 seconds that was stored in the brain of the deceased man. The image of a blue sky and a single tree with no shadow overhead is presented.

Porcelain – the most refined of all ceramic wares – impervious, translucent, resonant. Porcelain that is brittle and fragile. Harder than steel, white as snow. Porcelain that resists higher temperatures than stone. And porcelain that breaks…
The notion that the stage is a place where the invisible can appear has a strong hold on our thoughts. It is a place where we allow our senses to mingle. We hear the scene, we see the speech.

Chaaya - Even if a child is not able to comprehend the gravity of an experience intellectually, the body remembers at the cellular level, visceral reactions leaving traces long after the event. The mind blocks out the violations but revisits these happenings through recurring nightmares. Smells, sounds, people, objects, touch and taste briefly awaken memories of dark and unpleasant encounters. Chaaya is an exploration of such unwanted encounters.

RHYTHMOSAIC
Matter, energy, dynamism and quantity are the key essences of existence. Every phenomenon in this world happens in relation with another -- like falling leaves have a relation with the wind that blows, a teardrop is directly or indirectly related to the emotional turmoil that takes place within an individual.

'CHARADE' is a technology-influenced solo that has been animated, choreographed, and performed by Jonah Bokaer through the use of digital choreographic software. It takes the deconstruction of modernist portraiture as its inspiration, presenting a digital “maquette” which is mimicked by the performer.

PRAARAMBHA - hymn of creation
At first, there was but ONE. That ONE thing, breathless, breathed by its own nature, beyond that, there was nothingness.

CHHAYA - imageA submission to the inherently lyrical form of Odissi, this dance explores the various dimensions of its abstract vocabulary.
MUGDHA - lost in love

'Murali paani . . .' is an Oriya poem interpreted through facial expressions (bhava) and gestures (mudra):

VIBHAKTA - the division
In the union and the separation of the male and female principle lies the secret of all creation. Each acknowledges and celebrates the existence of the other.

AARATI
A salutation to the presiding deities of Odissi dance, the goddess Vimala and Lord Jagannath.
'From you comes all life; and into you we must all return'.

Dancers: Bijayini Satpathy, Pavithra Reddy, Rasmi Raj, Manasi Tripathy.

The Kampni will present an amalgam of excerpts from its newest work 'Mandala', which is based on the premise that formlessness gains articulation when translated into design. Divine forces are propitiated in the form of symbols in all cultures of the world; triangles and circles represent the various transformations of reality that culminate in the universe of mind and matter.

Apart from ensemble pieces like ‘Ushas' and ‘Taraana', Madhu Nataraj and Janardhan will present two solo works – ‘Bindu - the womb of brilliance' and ‘Naadaantaa' respectively.

Inspired by the Tamil epic 'Chilappathikaram', Attakkalari's multi-media dance production is an episodical journey, traversing layers of temporal and physical locations that often defy conventional notions of space and chronology. Establishing a link, between the landscape and the emotional as well as spiritual mindset of the protagonist, images from ordinary human existence encounter the intervention of inexplicable forces.

Inspired by the Tamil epic 'Chilappathikaram', Attakkalari's multi-media dance production is an episodical journey, traversing layers of temporal and physical locations that often defy conventional notions of space and chronology. Establishing a link, between the landscape and the emotional as well as spiritual mindset of the protagonist, images from ordinary human existence encounter the intervention of inexplicable forces.

In 'The Cosmic Dance of Siva', Nataraja is both symbol and reality. It is the movement of creation, preservation and dissolution. This triad, taken together, is the principle of Maya. Shiva is the Divine Dancer, visualized in terms of motion and vibration. Nataraja personifies the kinetic aspect of Siva's divinity – the elemental force through the power of which the whole universe is created, sustained, and ultimately destroyed. We are all dancing with Siva this very moment, and He with us. This cosmic dance of Siva is called Anandatandava, the Dance of Bliss.

In contrast to previous Philippe Saire creations, 'Could I just draw your attention to the brevity of life?' performs a delicate upheaval of the normal conventions of entertainment and plays on them in a light yet precise way. What is the driving force of our lives and universal need? And in answer to the question posed in the title, a surprise finale, a sort of reminder of the fragility of this universe.

Zeros & Ones
Developed in the Winter 2008 in Bengaluru, India's 'Silicon Valley', this piece highlights the digital divide separating e-haves and e-have nots.

Burning Skin
Many different forms of movement have influenced the choreography in Burning Skin - the martial arts, ballet, modern dance, bharata natyam as well as Roger Sinha's own unique vocabulary based on improvisation.

Quebasian Rhapsody
In a fluid form of movement mixed with various dynamic accents, the choreographer deconstructs the controlled and formalized techniques of Bharatanatyam and integrates it into his own personal, explosive and very fast movement style.

Minimini (turning around and around)
Minimini is about an experience of the life of the choreographer, Serge Aimé Coulibaly. In traditional African societies, when you want to express something strongly, you start with speech and when this is not sufficient you move on to dancing and singing. And sometimes you reach a trance-like state.

In Between Skin
Do you get sun burnt? Indian women do not laugh this loudly.What language do you dream in?
The suitcase contains dance and text making it a theatrical performance with a strong dramatic undertone.

I lost my English
I lost my English deals with cultural alienation and the intellectual dominion and the social and economic oppression that language can contain. When the way these words sound suddenly speak volumes about your history, your country and perhaps nothing about what those words mean in the dictionary.

Anger, pain, pleasure, happiness, sorrow, love, lust. Pushed is all of these journeys. Six dancers enter and exit in quick succession weaving a long and linear non-narrative that moves from one transition to the next seamlessly. The intention is to blur the lines of emotionality. To move the emotional from the tangible subjective to an intangible objective. Emotion is then our ability to find balance but also to lose.

In contrast to previous Philippe Saire creations, 'Could I just draw your attention to the brevity of life?' performs a delicate upheaval of the normal conventions of entertainment and plays on them in a light yet precise way. What is the driving force of our lives and universal need? And in answer to the question posed in the title, a surprise finale, a sort of reminder of the fragility of this universe.

Matrioska is based on the idea that there are overlapped layers in the things we see.
What we see in front of our eyes is often not more than the first image, the most immediate of many others behind it. This state of constant discovery, this curiosity about the images presented and their mutation is what we want to convey. What's behind that? What's inside this? What's that shadow? Is there someone inside it? What language does this singer sing? What's hiding beneath this shape?

UM SOLO (2002)
Um Solo functions like an echo chamber: it is where Tiago Guedes awaits and welcomes the spectator. It is in this shared space that his gestures detached from the rest, seem to express an inner voice deflected by any object he handles. The objects are silent and mysterious precisely because they are mute. To misuse them is to derange their functionality opening the possibility of creating new meanings.

VARIOUS MATERIALS (2003)
Tiago Guedes exhibits an absolutely exact presence, total but detached, in the middle of a small world made of different materials - newspapers, trash bags, scotch tape and others. He lines up metaphors and as if a child becoming an adult artist, he recomposes the parable.

E.T.E. – Extended Teenage Era: This dance theatre piece is a study of the present generation of young artists that learn well but without steady jobs. Because they have no chance to find their place in the adult world, they live within the limitations presented by parents and fill their world with the power of the imagination and memories out of the teenager time. Change is the magic word. The piece is characterised by a playful lightness and subversive jokes as well as with absolute dance and body control.