Brahma conceived it and Bharat Muni penned it; inspired by the ancient Indian treatise on the performing arts Natya Shastra, Play Clan presents 'Nritya' – an exploration of Indian classical dance on exquisite, hand-woven banarasi saris in collaboration with Ekaya. Through its iconic graphic sensibility, Play Clan unravels this rich theme in a new dimension.
Playing with the subtle nuances of the dancers and drawing out the rasas through colours, the saris are as true to tradition, as they are to the aesthetic of the contemporary Indian woman. Ekaya’s mastery over craftsmanship and heritage textiles and Play Clan’s eclectic visual style together create an ode to a glorious legacy, where the symbolism of dance plays with graphic form. The saris are an embodiment of the modern woman who wants to celebrate her heritage, in a novel, authentic voice.
She has the grace of Goddess Parvati and the rage of Lord Shiva. Her body is sculpted out of an ancient Chidambram temple, the pleats of her sari form the many phases of the majestic moon and her movements carry a river of emotions flowing from one Rasa to the other on the beat of the mridangam.
She is a Bharatnatyam dancer, a dance form from Tamil Nadu, that derives its name from Bharat Muni, the author of Natya Shastra.
She is Lord Vishnu, disguised as Mohini- the enchantress who lured the demons away from the nectar of immortality. Jasmine flowers adorn her hair and the golden rays of the sun form the border of her sari. Her gait wave-like, her gestures suggestive and her movements rhythmic, her tinkling temple jewellery adding to the music made by veena, violin and mridangam.
She is a Mohiniyattam dancer who dances the dance of love, originally performed by the devdasis in the temples of Kerala.
She has been dancing this dance since time immemorial, moving from the royal courts to the Hindu temples and Buddhist monasteries. She moves like the waves of the ocean on the shores of Puri; her gestures graceful, her footwork firm. She become as vigorous as Shiva when she dances the Tandava and as graceful as Parvati when she does Lasya.
She is an Odissi dancer, a dance famous for Tribhangi - the three bend posture; from Eastern India.
She spins like a whirling dervish, with her skirt flaring out to become the vastness of the universe, challenging the complex time-cycle with her speed. She sashays her hands to communicate through mudras, stories from the ancient temples and the royal Mughal courts.
She is a Kathak dancer, a storyteller, a dance that traces its origins to the nomadic bards of northern India.
She carries the sun and moon in her hair, tales of Gods in the folds of her sari, the rhythm of the mridangam in her ghungroos and the heritage of an ancient village on her shoulders. She uses her voice to tell a story, her eyes to express her emotions and her feet to dance for the divine. She can draw the outline of a lion or an elephant with her dancing feet.
She is a Kuchipudi dancer, a dance that derives its name from a tiny village of Kuchelapuram, Andhra Pradesh and is as old as the Gods themselves.
Ekaya, Defence Colony
Play Clan, Meherchand Market