Nirmanika: Reimagined

Apsaras Arts
Victoria Theatre
Feb 25

Structure and symmetry characterised Apsaras Arts' bharatanatyam production Nirmanika, a collaboration with the Indian Embassy in Singapore to mark India's 75th year of independence.

An ode to Indian architecture and its cultural influence in South-east Asia, Nirmanika's staging at Victoria Theatre was a fitting tribute to mark the milestone.

Clad in rich traditional hues such as red and yellow, dancers explored the pillars, engravings and spirituality of different ancient monuments in six acts, including the Konark Sun Temple in the eastern state of Odisha and the famous Meenakshi Temple in the south.

The highlight of the performance was the final act, Elevation, which delved into the structure of Borobudur, a Javanese Buddhist temple with Indian architectural influences.

The dancers' beige-toned costumes lent a soft, ethereal quality to their movements, distinguishing the act from previous segments.

At times, the repetitive, geometric formations in the final act brought to minda procession of monks ascending into the temple. In other moments, the dancers resembled Borobudur's formidable stone domes.

First staged in 2011, the original production of Nirmanika spearheaded the Raga series by Esplanade - Theatres on the Bay, which showcases Indian performing arts in dance, music and theatre.

The restaged production portrayed five more monuments than the original, accompanied by a resounding recorded score which abundantly compensated for the lack of a live orchestra.

While all six acts were educational and comprehensive, they were also lengthy and failed to keep the viewer's attention unwavering throughout the performance.

Apsaras' attention to technical detail and musicality was evident in the disciplined approach of the performers, although the dancers could have amplified the bhava - the expressive element of the performance - to better engage audiences.

Principal dancer Mohanapriyan Thavarajah's evocative depiction of a king in the fifth act was a tour de force, expertly blending devotion, poise and affection.

In his solo performance, his use of negative space convinced the audience he was speaking to a precocious child, although none existed on stage.

The use of other stage elements, like light and a translucent screen, complemented the production without distracting the audience from the choreography, which was as calculated and methodical as the discipline of architecture itself.