Drawing from India’s Ardhanareeswara and Bali’s Achintya, the work explores the sacred balance of masculine and feminine energy through movement, mythology, and sound. In an exclusive conversation with Indulge Express, Gomathi and Wayan reflect on shared artistic roots, gender beyond binaries, and the quiet radicalism of tradition.
A Sacred Symmetry: Ardhanareeswara and Achintya
When Indian classical dance meets Balinese ritual movement, the convergence is not merely choreographic—it’s deeply philosophical. For Balinese choreographer Wayan Sudirana, the connection begins with shared emotional language. “In Balinese culture, we have many Indian roots. We still follow Hindu traditions, which influence our dance,” he says. “Our eye and finger movements resemble South Indian classical forms, and we use hand gestures based on mudras. That’s why it felt natural to connect artistically.”
At the heart of Dvaita–Duality is a striking spiritual mirror: the Indian concept of Ardhanareeswara, the union of masculine and feminine energies, and the Balinese idea of Achintya, the formless, genderless divine. “Achintya is not male or female—it’s energy,” Wayan reflects. “That’s the essence of our belief.”
Colonial Constructs and Reclaiming Space
For curator and Bharatanatyam dancer Gomathi Boorada, the performance is more than a cultural exchange—it’s an act of reclamation. “Patriarchy, I believe, was imposed on Indian society by the British,” she says. “In many South Indian communities, matriarchy existed. I’ve grown up worshipping Kali and Durga as warriors—war was never seen as solely masculine.”
She sees this production as soft defiance—using tradition to speak to the present. “Kuchipudi was once close to everyday people. We’re bringing it back with awareness—to create space for younger generations to express themselves without limitations.”
Wayan offers a parallel from Bali, where Dutch colonisation disrupted cultural roles. “The Dutch imposed their ideas of masculinity across society,” he explains. “Only men could be kings, priests, dancers, or musicians. Women were excluded—not just from performance, but from sacred roles.”
That legacy shaped Balinese performance traditions. In dances like Gandrung, male performers embody the feminine—not as mimicry, but to express energetic balance. “Achintya, like Ardhanareeswara, isn’t tied to the physical body—it’s about energy,” he adds. “Even our warrior dances blend grace and strength.”
In Dvaita–Duality, Wayan includes Legong, a classical court dance once performed by women, known for its refined gestures. “Earlier, only men could play the gamelan—our traditional Balinese percussion ensemble—but now women play too. That shift matters in contemporary Balinese society.”
Mumbai, in Five Senses
Returning to Mumbai brings vivid memories for Gomathi. “Mumbai is life—it wakes up all your senses,” she smiles. “When I brought my son in 2006, his first words were, ‘Oh my god, the sound of the city!’ Then, seeing a fruit cart, he said, ‘Mom, look at the colours, the smell!’ You feel everything in Mumbai.”
She hopes audiences experience Dvaita–Duality with the same intensity—vibrant, unexpected, and immersive.
For Wayan and his ensemble, it will be their first visit to India. “We’re coming with open minds,” he says. “I hope the audience connects with us—through rhythm, movement, and emotion.”
After the performance, the group looks forward to soaking in the city. “Yes,” Gomathi laughs, “we’ll eat street food, walk the markets, and absorb the vibe.”
From Percussion to Epics: A Cultural Memory
Beyond choreography, Wayan is deeply drawn to Indian classical music. “I’ve learned mridangam—South Indian percussion,” he shares. “I’m especially drawn to rhythm.” His spiritual curiosity also runs deep. “We practise Brahmin Hinduism in Bali, with roots linked to Indian traditions. I’d like to explore that further while I’m here.”
Cinema shaped his early impressions of India too. “As a child, every Sunday we watched Ramayana and Mahabharata on TV. That’s how I first encountered Indian epics. Bollywood films were part of our weekly ritual as well.”
Where Tradition Breathes Forward
What makes Dvaita–Duality more than a performance is how it holds past and present in the same breath. Through ancient gestures and new collaborations, it speaks of identity without borders, energy beyond gender, and tradition as a living, evolving force.
As the lights rise in Mumbai, the stage becomes a bridge—not just between two countries, but between memory and movement, mythology and modernity.
Venue : Experimental Theatre, NCPA
Date : July 19, 2025
Time : 7:30 PM
(By Arundhuti Banerjee)