Premiere: 12 April 2005, Purcell Room, London
Third Catalogue is the final part of a trilogy based on Hindu mythological gods.
The evening includes the main solos from Akram Khan's previous kathak programmes Polaroid Feet and Ronin and a new solo choreographed by Kumudini Lakhia one of India's leading Kathak artists. It features musicians from the previous kathak shows as well as introducing BC Manjunath the percussionist from ma, Akram's latest contemporary creation.
This project concludes Khan's status as an Associate Artist at South Bank Centre.
Artistic Director / Performer - Akram Khan
Partha Sarathi Mukherjee - tabla
Faheem Mazhar - vocals
Philip Sheppard - cello
Baluji Shrivastav - sitar
BC Manjunath - mridanga
Costume - Tony Aaron Wood
Lighting Design - Aideen Malone
Set Design - Illur Malus Islandus
Technical Manager -
Estelle Rickelton (until September 2005) and Fabiana Piccioli (from September 2005)
Composition and Choreography - Gauri Sharma Tripathi
Text - Pandit Lachu Maharaj
One half Shiva, one half Parvati, in exact balance. The equipoise of Ardhanarishwara is dynamic expressed through the fluid asymmetry of its posture. This piece brings to light the aspect of recitation in Kavitt as poetry form blended in with melodic interludes. The balance that Ardhanarishwara represents is not merely biological as in gender, or physical as in the distinctly male and female stances that are conjoined in the composite being, but extends as a metaphor to all of creation.
Text - Hanif Kureishi
Actor - Christopher Simpson
Concept and Choreography - Gauri Sharma Tripathi
Text - Mukta Trivedi
This piece highlights the character and focus of the great warrior Arjuna in the epic Mahabharata. Our introduction is with ten names which portray the power and precision of Arjun, when challenged to show his marksmanship, by hitting the eye of a revolving fish. The piece leads to a dialogue with Lord Krishna at the beginning of a mighty battle between the Pandava and Kaurava armies. Krishna gives spiritual enlightenment to the reluctant warrior Arjun, to do his duty in battle. Through this dialogue Arjun realises that the true battle is for his own soul.
Choreography - Kumudini Lakhia
Music Composition, Vocal - Faheem Mazhar
“Kumudini Lakhia is a choreographer of rare sensibility. She is one of India's leading Kathak artist. Her dance has strong intellectual elements, natural sophistication. Kumudini creates eye catching stage geometry out of authentic time-tested units on kathak vocabulary, which results in a polish, compelling, fresh dance.”
It is believed that stories narrated to a mother-to-be are heard by the unborn child which shapes its future.
It was in the womb of his mother Subhadra, the sister of Lord Krishna, that Abhimanya heard the stories of war, warriors and warfare. Abhimanya grew up to be a god-like lad, valiant and brave, proving himself worthy of his father Arjuna.
In the great battle of Kurukshetra between the Pandavas and Kauravas it fell upon Abhimanya to break through the “Chakravyu”, the complex circular formation of the Kauravas enemy. He knew how to get info the circle because he had learnt of it in his mother's womb. He did not however, know his way out.
Taking advantage of Abhiamnyu's failure, the “Kauvaras” broke his bow, killed the horse of his chariot and finally attacked him fiercely. Abhimanyu fell fighting like a true warrior.
Improvisation by Akram and musicians (in 16 beats - tin taal)