Kandam Ostinato was created by choreographer Kalpana Raghuraman for the India Dance Festival 2014. It is choreographed on the music composition of Simeon ten Holt's Canto Ostinato.
So, what does Canto Ostinato by Simeon ten Holt have in common with Indian dance? In the Indian musical lingo the stirring five-beat measure is called Kandam Ostinato. Anuradha Pancam, Usha Kanagasabai and Indu Panday are affected by Ten Holt's exciting repetitive composition. With fast and tightly executed footwork together with slow elegant arm movements, they are carried along on the rhythm’s pulse. Kalpana Raghuraman tries to understand why it's so difficult to just be yourself. How can you hold on to your own ideals in this wild world where we often make the opinions of others more important than our own?
Kandam Ostinato has featured in the India Dance Festival 2014, CaDance festival 2015, and numerous theatres across The Netherlands and India.
After Samarpan this is the second trio piece that choreographer Kalpana Raghuraman made for Anuradha Pancham, Usha Kanagasabai and Indu Panday. This production has been allotted lots of praise for the courage and innovation that Raghuraman showed with this piece.
Choreography - Kalpana Raghuraman
Dance - Usha Kanagasabai, Anuradha Pancham, Indu Panday
Music - Simeon ten Holt, Peter Lemmens
Lightdesign - Peter Lemmens
Kalpana Raghuraman, born and raised in the Netherlands and also deeply rooted in Indian culture, sees herself as a bridge builder between cultures, traditions, and people. In the course of many years, she was initiated by her mother in the secrets of the South Indian temple dance form Bharatanatyam.
In order to expand and intensify her training, Kalpana travelled to India to continue her dance studies and to do research for her studies in Cultural Anthropology into the changing dynamic in knowledge transferal concerning the Bharatanatyam. Kalpana distinguishes herself in the rich field of dance in the Netherlands because of her very personal dance style. With great knowledge and integrity, she dares to pry loose this classic dance form from its conventions and to make connections with modern dance. With this she places this dance form, which is steeped in centuries-old traditions, in the present, and allows it to have significance for a young and future generation.
From the press ‘Kalpana shows an innovative choreography which is infused with a touch of humour.’ (Pulse Magazine)
'(..) It works likes a charm. The slow, elegant arm movements of the three dancers follow the swell
of the music, the feet take care of the rhythm. Panday's solo is especially impressive, where she stamps the Canto Ostinato with her feet without musical accompaniment.' (theaterkrant.nl)
'Kandam ostinato is een klassieker in de maak.'