Vayu - The Celestial Breath of Life


The most formidable force that reins our existence, Vayu, is the essence of our being. At the most basic level, every heartbeat in our body, every living cell is controlled by vayukriya. On the grander scale, vayu brings forth change, of seasons, of times, in lives. It is the bearer of the new. We come into this world, our every breath is predestined, some bring us love, some despair and some hope, happiness and peace. The songs selected for production, reflect the seasons of emotion brought by the winds of change. It is only when the Almighty Lord breathes his life force into our existence do we come alive to realize our true selves and become one with the Lord.

Concept, and Choreography - Bimbavati Devi

Script and Chants - Srijan Chatterjee.

Devatmayee - The Soul of the Gods

The contemporary approach witnesses a renewal of interest in the tradition and research in its profound origins. As with knowledge, the more one delves, deeper becomes the mystery. The ancient Manipuri concept of mother goddess has been contrasted and compared with the mythological Vedic interpretation of the God Mother. Our mythology has a rather beautiful concept of ‘Devatmayee’- the soul of the gods. Her identification is a matter of speculation - both Vedic and archaic. Her divinity is derived from the puranas as well as the local folklores. Sometimes she is a force of nature, sometimes a mother figure or simply a womb undifferentiated often. The balance shifts from one medium to another & the shapes differ perceptively.

Concept, and Choreography - Bimbavati Devi

Research, Script, Creative mentoring, Chants - Srijan Chatterjee.

Past Productions

Gopi Goshtha

The story of this dance drama was inspired by the episode of Attalika Darshan which is a portion of the 64 divisions of Shringar rasa propounded by the Vaishnavite scholars. Krishna and his friends go to the meadows to tame the cattle and Radha sees him from her balcony. She is moved with intense love and becomes extremely anxious to be with him. She decides to meet Krishna along with her friends in the guise of cowherd boys. Radha adorns herself with a banamala (flower garland) and a flute in hand. Krishna on hearing her flute is charmed to see a new group of cowherd boys. He recognizes Radha immediately but pretends to be ignorant. When Krishna wanted to know her identity, she said she was Kamsa’s accomplice who had sent her to take Krishna from there by force.

Music, Choreography and Direction by Guru Bipin Singh

Kaitav Milan

Krishna appeared as an acrobat in front of Radha to quench her craving to see him. He wished to have the garland that she wore. Radha realizing that he was none other than the Lord himself, gave him the garland. Krishna hung the garland on a branch of a tree to keep himself free for the acrobatic feats that he was to display. In the meanwhile a crow flew away with the garland and dropped it on the bank of Yamuna. Attracted by the beauty of the garland, Chandravali picked it up and adorned herself with it to her own peril as in the process she had unintentionally invited the wrath of a suspicious and jealous Radha.

Music, Choreography and Direction by Guru Bipin Singh

Bhanushingher Padabali

Rabindranath Tagore at the age of 16 wrote his first substantial poems entitled ‘Bhanusingher Padabali’ under the pen-name Bhanusingha. It is based on the story of the divine love of Lord Krishna and Radha.

Choreography and Direction by Guru Kalavati Devi


Tasher Desh

Set in a seemingly youthful context, a Prince craving for adventure and the challenge of the unknown is flung into a land of childlike imagination: The Kingdom of Cards. The cards intelligently symbolize the rigidity and sterility of caste and class. Only the untamed and unfettered nature of the Prince can demolish this aching stringency and usher in a torrent of revolutionary change

Choreography and Direction by Guru Kalavati Devi


Kal Mrigaya is a musical play by Tagore which deals with the incidents behind Ramayana. It turns upon how King Dasharatha unintentionally kills Shravan Kumar, the only son of a blind hermit, Andhaka.

Choreography and Direction by Guru Kalavati Devi



Chitrangada, the child of the King of Manipur, and the sole heir to the throne, was brought up like a man, taught to be the protector of the land and her people. One day, she meets Arjuna in the forest and falls in love. She believes that he could never love her the way she is. She prays for a boon from Kamdeva, the God of Love, who transforms her into a beautiful woman who can entice Arjuna with her grace and beauty. However, in spite of having everything she desired, deep down she wished Arjuna could love her for her true self.

Choreography and Direction by Guru Kalavati Devi


Ek Gopi Ek Shyam
(harmonious blend of Manipuri & Odissi)

It is based on the story of Maharas which highlights the cosmic union of Lord Krishna with Radha and the gopis. After a series of incidents, Lord Krishna appears in a myriad of forms so that for each gopi, there is a Krishna.

Choreography and Direction by Guru Kalavati Devi and Smt. Aloka Kanungo, renowned Odissi exponent.



Various valourous and mischievous leelas (deeds) of young Krishna woven into a colourful tapestry.

Choreography and Direction by Guru Kalavati Devi.



An impassioned invocation of Mother India and the many facets of human weakness based on the compositions of Rabindranath Tagore, Rishi Aurobindo and Bankim Chandra Chatterjee.

Concept, Choreography and Direction by Bimbavati Devi



Anubhavaamah means “we feel” the many facets of human weakness portrayed through the various aspects of Manipuri dance, martial arts, and other performing art forms of Manipur.

Concept, Choreography and Direction by Bimbavati Devi.



An exploration of the various moods and feelings of Vishnupriya, the wife of Chaitanya, the great saint and social reformer of Bengal.

Concept, Choreography and Direction by Bimbavati Devi



A eulogy to the Creator and all creation. A tribute to the omnipotent, eternally radiant Almighty. A tribute to the mere Man. The choreography was inspired by Rabindranath Tagore’s essay, Vishwa Parichay, and especially his song, Mahabishwe, Mahakashe, Mahakalo Majhe (Under this infinite sky, through time unbounded, I, a human, am roving in utter bewilderment).

Concept, Choreography and Direction by Bimbavati Devi


Purna Pran

Based on Rabindranath Tagore’s concept of Prakriti (Nature) and Prem (Love). The Varsha (Monsoon) season signifies vipralambha shringar (unrequited love) while Vasant (Spring) signifies sambhog shringar (love in bloom).

Concept, Choreography and Direction by Bimbavati Devi


Prabhu Amar Priyo Amar (harmonious blend of Manipuri & Kathak)

Shapmochan on which this production is based is the story of a tune - losing it repeatedly unmindfully and then regaining it through the euphonious and rhythmic compound of ‘sukh-dukkho’ (pleasure and grief). Aruneshwar (the hero) and Kamalika (the heroine) through travails and deception trandscend into the world of light and eventually unite.

Concept - Ashimbandhu Bhattacharjee (renowned Kathak exponent) and Amit Dasgupta Script - Amit Dasgupta

Choreography and Direction - Ashimbandhu Bhattacharjee and Bimbavati Devi