Collaboration with Attakkalari Center for Movement Arts, Bangalore, India and Concordia University Montreal, Canada.

"Chronotopia is a dance theater re-imagining of the one of the oldest Indian epic poems: the Tamil epic Silappatikaram. Attakkalari's multi-media dance production is an episodical journey, which explores the movement of five performers through a physical and emotional landscape of contemporary life: birth, love, marriage, war, devastation, death and transformation. 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.
A series of 9 meter tall columns holds a series of 6 Cold Cathode Florescent Lights encased in acrylic cylinders which form a matrix of 36 individually controllable lighting elements. Additionally, three wirelessly controlled CCFL's are mounted into pedestals which are carried around the stage by the performers and function as sacred objects in the work's dramaturgical structure.

The stage scenographic environment consists of the lighting system in front of which is suspended a large scale, semi translucent projection screen upon which is projected a series of five iconic yet, visually abstract textures. Top and side cameras analyze the flow of motion from the dancers and are used to provide simultaneous input to both the lighting and projection systems. The lighting responds to the performers' motion by either triggering set patterns, directly coupling with the dancers or creating abstract traces based on different rhythmic and temporal patterns.

The lighting scenography is inspired by both the abstract images of bodily gestures that are prevalent in traditional Indian dance forms such as Bharatnatyam as well as by the ubiquitous appearance of florescent lighting fixtures in everyday life in India."
text: Chris Salter

choreography: Jayachandran Palazhy
dance: Rakesh Mps / Sumesh Vazhukkal Myilswamy, Jayachandran Palazhy / Denny Paul Machampilly, Diya Naidu, Hemabharathy Palani, Jyotsna Baleshwar Rao
interactive scenography: Chris Salter | Chris Ziegler
interaction research/design (light): Marije Baalman | Chris Salter
interaction design (video) : Chris Ziegler
lighting programming: Marije Baalman
lighting system design: Elio Bidinost | Harry Smoak
sensing research/development : Joseph Malloch | Marije Baalman | Rodolfe Koholy

© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© chrisziegler
© attakkalari
© attakkalari
© attakkalari
Duration : 8:26
titledatetimelocationtickets & info
1. chronotopia Fri 26-03-2010 -> Sun 28-03-2010  Mousonturm, Frankfurt am
2. chronotopia Sun 14-03-2010  Staatstheater Kassel,
3. chronotopia [NSD Festival 2010]Tue 19-01-2010  Abhimanch Theatre, New
4. chronotopia [NSD Festival 2010]Sun 17-01-2010  Antarang Theatre,
5. chronotopia Sat 21-02-2009  Niraswaram Theater,
6. chronotopia Thu 19-02-2009  Music Academy Chennai, Chennai
7. chronotopia [Attakkalari India Biennial 2009]Wed 11-02-2009 -> Thu 12-02-2009  Ranga Shankara Theater, Bangalore

Fri 06-02-2009 : The Hindu, author

Human Dilemmas Chronotopia is a multi-media dance production based on a Tamil epic Attakalari Centre for Movement Arts presents 'Chronotopia', a multi-media dance production choreographed by Jayachandran Palazhy and the dancers at Attakkalari. Supported by India Foundation for the Arts, the show will have a world premiere at the Attakkalari India Biennial 2009, the international festival of dance and digital art. Chronotopia oscillates between memory and experience, and explores human predicament in a time of rapid changes. Inspired by the Tamil epic, 'Chilapathikkaram', the piece takes the audience through an episodical journey traversing layers of temporal and physical locations that often defy conventional notions of space and chronology. Anchoring on a central female character represented by three dancers, the piece journeys through rural, urban, historical, contemporary and even mythical contexts. Highly translucent traces of projected images by Chris Ziegler, complemented by an abstracted light installation by Chris Salter and Marje Baalman, create an interactive context for the evocative performance, highlighted by Thomas Dotzler's restrained and refined light design. Intricate choreography by Jayachandran Palazhy (along with the dancers) is set to an original, vibrant and melodic score by French composer Mathias Duplessy, (created in collaboration with Carnatic musicians from Bangalore). The performance is on February 10 ands 11, at 7.30 p.m. at Ranga Shankara in Bangalore. On February 18, it will be performed at the Music Academy, Chennai at 7.30 p.m. and on February 21 at Ninasam in Heggodu at 7.15 p.m.

Sat 21-02-2009 : Times of India, author

Movements redefined Attakkalari's multi-media dance production; Chronotopia was staged in the city Jayachandran Palazhy, artistic director of Attakkalari Centre for Movement Arts talks about his latest production, its contemporary approach and the language of movement. On Chronotpia Chronotopia is all about dealing with the sense of loss in contemporary times. Life today has become increasingly uncertain and insecure. We live in a world marred by wars, terrorism and multiple forms of suffering. It is depicted through the plight of women? her rage, anger and fighting back. The protagonists are three women and the story unfolds in a non-linear narrative style. The inspiration Chronotopia is a take off from Silappathikaram. There are parallels. But it is not the archetypical depiction of Kannagi. The concept of tinai "inner emotions of characters" are reflected through landscapes. We have used metaphors, multi-media and abstracts to narrate the story and bring in the imaginary landscape. The unique movement language in the repertory It is a coming together of several movement ideas, aesthetic principles, its development, processing and improvisations. We have borrowed from bharatanatyam, folk arts, body-care systems and transformed it. Localised movements with an empirical approach has made the programme very dynamic. When you dance, the ideas are reflected in the body and by fine-tuning the body you get codified images. It is called multiple intelligence, or kinesthetic intelligence. On contemporary dance Contemporary dance is an expression through movement that processes memory, experience and imagination. The emphasis of contemporary dance lies in originality, innovation and creativity. It is an exciting interdisciplinary approach. It engages itself with daily concerns, issues and experiences and offers immense possibilities. It is the unleashing of creativity to its zenith. It goes beyond the narrative form of expression and becomes a total sensorial experience for the audience. A visual poetry of sorts. The language of dance Dance has been the most important form of expression in our culture. Dance connects the body, mind and spirit. To be able to dance is to live life somewhat fully. Besides, dance has a very unifying kind of influence without barriers of culture, society or language. Dance sculpts human bodies through time. Appreciation for contemporary productions The understanding comes from a mixture of inborn ideas and acquired tastes. The history of viewing matters a lot. Contemporary dance form respects the intelligence of the audience and also the creativity of artiste. An artiste is only a milestone and the picture is completed with the audience involvement. People react to contemporary dance from a gut level. The Chennai audience has a strong artistic taste, background and when they embrace change, it is very powerful. On Chennai I am very nostalgic about Chennai. I was a student of the Dhananjayans and also studied in Kalakshetra. I can't forget the street corners and the long walks on the beach. The smells and sounds of the city and the colours and tastes still enchant me. Besides I am also passionately in love with the Tamil language. sindhu vijayakumar

Fri 13-02-2009 : Deccan Herald Bangalore, Madhuri Kalyan

It was artfully choreographed in its various portrayals. The dance ballet does not adhere to a sequential or linear narrative to convey a story, but rather it has been evoked from the performer's memory. the play somehow leaves a mark on the audience. The play only proved that the beauty of storytelling in abstract is more challenging to the performers and the audience and adds depth to the experience of the performance.
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