Nritta In Still Motion
Opening with a salutation to both Islamic and Hindu religions, Akram presents short compositions which weave complex rhythmical patterns through the sixteen beat cycle “TINTAL”. Within this pure dance piece there is a large scope for improvisation, in which a dialogue is created between dancer and tabla player.

Ardhanarishwara
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.

Anandam (Tarana – Darbari)
Tarana is a musical item in which the dance syllables are set to musical notes, chosen in certain “RAAG’ (DARBARI) AND “TAL’ (TAL – JHAPTAAL), 10 BEATS/ TINTAL. 16 BEATS.