Un-Eklavya: Thematic Bharatanatyam Production
A choreographic exploration of the Mahabharata’s most debated sacrifice. I weave history and movement into a 90-minute narrative that challenges how we define devotion and loss.
A glimpse into "Un-Eklavya" from a performance in Kolkata. This is the tale of a young boy who lived beyond his thumb, a story of courage to rekindle lost hope and a ballad of choosing our battles wisely.
A review of "Un-Eklavya" in The Hindu after a performance in Chennai. It is reaffirming when a critic notes every nuance, and I am filled with gratitude for my team of artists who had faith in my vision.
Another shot of the review in The Hindu. The critic's words on the integrity and intent of the performance mean a great deal to me and validate the path I have chosen with this production.
Inviting the audience in Mumbai to witness "Un-Eklavya" at the Parabola of Dance festival. I was humbled to be part of a thoughtful curation by Aditi Mangaldas ji, sharing the process from the seed of an idea to the final staging.
A duplicate of the invitation to "Parabola of Dance" in Mumbai. It was a delight to share the stage with other brilliant artists and present excerpts of this brand new work.
A review of "Un-Eklavya" by senior Bharatanatyam artist Smt. Radhika Shurajit. Her humbling words, noting the sensitive portrayal and intelligent conceptualization, brought tears to my eyes.
"Un-Eklavya" was unfolded at Bharatakalanjali in Chennai. It was a surreal experience to premiere this new dance production and my art exhibition at their beautiful space, in the presence of legendary maestros.
An announcement for my performance at the Jharna festival in Chennai. I was thrilled to launch "Un-Eklavya" at this cultural celebration and immerse the audience in a world of artistry.
About Un-Eklavya: The Riddle of the Thumb
Un-Eklavya is not a standard recital, but a 90-minute dance-theatre piece that re-examines the legend of Eklavya. My approach focuses on the psychological weight of his sacrifice, utilizing a 5-piece live orchestra and precise lighting design to guide the audience through the narrative. It asks a difficult, central question: when we surrender our identity at the feet of a guru, what remains of the artist within?
This production is the result of four years of rumination and research. Unlike a traditional Margam, which focuses on the technical structure of Bharatanatyam, Un-Eklavya prioritizes the abhinaya (expression) and the narrative arc.
The Artistic Vision
My research into ancient texts drove the concept of this piece. I wanted to move past the binary of hero and villain. By focusing on the 'riddle of the thumb,' I challenge the audience to consider the cost of unconditional surrender. The choreography blends traditional Chola-inspired lines with contemporary performance techniques to bring a tribal, raw aesthetic to the stage.
Production Technicalities
To maintain the integrity of the performance, I work with a 5-piece live orchestra comprising a vocalist, mridangam, flute or violin, veena, and nattuvangam. The music is a custom-composed score that evolves with the story.
- Duration: 75 to 90 minutes.
- Setting: Requires a space capable of supporting theatrical lighting, specifically designed to handle the transitions between the battlefield and the introspective moments of the protagonist.
- Logistics: The production team includes a dedicated lighting technician, costume support, and specialized character makeup artists.
This work is intended for audiences who appreciate dance as a medium for intellectual inquiry. It has been performed at cultural spaces like the Jharna festival in Chennai and the Parabola of Dance in Mumbai, where the focus remains on the interplay between the dancer’s movement and the profound questions raised by our mythology. If you are planning a festival or a curated cultural event, this production offers a narrative-driven experience that resonates with both classical rasikas and modern audiences.
Himanshu Srivastava
I am Himanshu. My work lies at the intersection of deep research into ancient texts and the raw physicality of Bharatanatyam. I do not just perform; I curate stories that force us to look at mythology through a contemporary lens.
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