Vaibhav Arekar’s ‘Viyoga - Fragments of Light’ reflected on vanishing spaces and values

Kalavaahini Trust’s archetypal commissioned enactment that premiered astatine its Dance For Dance Festival was ‘Viyoga- Fragments of Light’ by Vaibhav Arekar with choreographic guidance by Malavika Sarukkai, Kalavaahini’s managing trustee and curator of the Festival.

‘Viyoga’ is based connected the premise of ‘Loss,’ which Vaibhav divided into 3 — nonaccomplishment of horizontal spaces, nonaccomplishment of authenticity and nonaccomplishment of a need-based society. There were existential questions, not astir the philosophical self, but astir america arsenic a nine going downhill.

Along with 5 well-conditioned dancers (Eesha Pinglay, Swarada Bhave, Poorva Saraswat, Gautam Marathe and Ann Christy-Pillai), Vaibhav crafted an abstract accumulation with mostly archetypal temper euphony (Karthik Hebbar) to suit the occasion. He besides included Kabir’s verses and Annamacharya’s compositions. The movements and the postures were well-choreographed, the suggestive lighting (Sushant Jadhav) highlighted the tone of the work, and the voice-overs guided the rasikas well.

The effect was expansive and Vaibhav employed antithetic kinds of theatrics to heighten the slick radical choreography.

The voice-overs featured statements specified arsenic ‘The horizontal expanse of my beingness has been cramped into a vertical...’; ‘The large trees thinning with the grey concrete’ to bespeak urbanisation; ‘Noise extracurricular destroys the soundlessness inside’; ‘Where information is blurred, envy rules’; and revelling successful mendacious perceptions and starring the idiosyncratic wrong astray’ for societal media-led mendacious images starring to accent and losing the calm within. After a conflict to unopen retired distractions, Vaibhav finds Shiva. The full radical sways successful unison to ‘Sadashivane… Shivam Shivam..’ – this gentle infinitesimal was 1 of the highpoints of the different large and engaged production.

The 3rd conception had immoderate Bengali people and portrayed immoderate blessed times covering the acheronian effects of commercialisation wherever you are enticed into buying much than you need. Annamacharya’s ‘Nanati baduku’ spoke of commencement and decease arsenic a earthy portion of life. ‘Deh devache mandir’ (Sant Tukaram) brings them backmost from their authorities of self-absorption and self-adulation. They yet larn ‘to bash the close thing’.

Many factors worked connected their own, but ‘Viyoga’ did not enactment arsenic a whole. It felt repetitive and excessively clinical. If determination was a storyline down the abstraction, it did not travel through.