Duality. The universe exists in a constant play of opposites — sound and silence, stillness and movement, creation and dissolution. These forces, when paired together, shape everything we know. Form and fluidity, self and other, union and separation — these dynamics reveal how meaning is formed through interplay. It is through this ongoing rhythm of duality that the universe lives, shifts, and renews, and within it, so do we.
This idea finds form in the damru, the hourglass-shaped drum held by Lord Shiva. It mirrors the shape of infinity with two sides held together by a central thread; just as contrasting forces are held together by balance. It is interpreted by philosophers as the synergy between the masculine and feminine energies, and therefore, becomes a metaphor for creation itself.
Drawing inspiration from this instrument is Vidhya Subramanian, an award-winning dancer, choreographer, and teacher, who aims to interpret this philosophy to life through a Bharatanatyam ensemble. “Several years ago, I wanted to present a work on the idea of balance. I realised I needed to philosophically delve into it. Years later, when I was thinking about the instruments of gods, I came across the damru. At one point, while doing my research, I connected the two — balance and the damru,” she shares when asked about the show's conception. Every recital would also involve the sounds of damru, though not constantly.
The choreographies explore various dualities like the synergy between the earth and the sky, the tangible and the intangible, young and old, among others, all conveyed through Varnams — a traditional Bharatanatyam format that often explores elaborate storylines. “Traditionally, in Varnams there is an obvious duality between the nayika and the other, with the nayika yearning for union with the universe or energy (often personified as a deity),” Vidhya says, adding how these traditional confines have allowed her to shift the pillars, reimagine the structure, and create meaningful interpretations within the classical framework.
One of the pieces that explores the duality of age is a piece centered around a mirror. It contrasts the way a young woman gazes into the mirror, seeking validation, and wanting to impress her piya (lover), with how an older woman confronts her reflection. “What does piya mean to an older woman?” — Vidhya explores this question.
Reciting these interpretations of Vidhya’s, along with her, are Anahita Chaliha, Anisha Parameswaran, Archa Shajukumar, Manasa Vijaychander, Pranathi Ramadorai, Rutuja Kumar Marne and Subashree S. Each trained in different schools of Bharatanatyam, makes it more challenging, Vidhya says. “As someone who has predominantly been a solo artiste, I find it challenging too, while performing in a group,” she adds.
But was an all women team intentional? She responds with a quick “No.” “I had conducted auditions and around 25 people turned up. It so happened that only women turned up,” she concludes.
Damru by Sparsha Dance Ensemble will premiere on July 13 at Narada Gana Sabha Main Hall, at 10.30 am.