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26 Aug - 21 Sep 2025   Indian Heritage Centre​

5 Campbell Lane, Singapore 209924

Tuesdays - Sundays 10am to 6pm​

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​Step into a world where tradition meets technology in this immersive Virtual Reality (VR) showcase of Indian classical dances. Experience the grace of Bharatanatyam, the fluidity of Odissi, the elegance of Kuchipudi, the drama of Kathakali, and the rhythm of Kathak like never before.

 

This cutting-edge VR experience brings you face to face with the intricate expressions, storytelling, and divine artistry that have defined these ancient dance forms for centuries.

 

Whether you are a dance enthusiast or a curious explorer, prepare to be transported into the heart of Indian cultural heritage in stunning stereoscopic 180° VR in these seven dances performed by some of Singapore’s leading dance companies.​

BHARATANATYAM

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Alapadma - Dance of the Mudras (8 mins)

by Apsaras Dance Company

 

Bharatanatyam is one of the most prominent and widely practiced dance forms of India, with origins in the temples of Tamil Nadu in South India. It is known for its geometric precision, rhythmic footwork, and expressive storytelling.

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Hand gestures (Mudras) are a typical characteristic of Bharatanatyam. This work features one of the most popular hand gestures – “Alapadma” Mudra (flower / lotus-like hand gesture).

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Supported by â€‹â€‹

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BHARATANATYAM

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Dance of the Devadasis (5 mins)

by Apsaras Dance Company

 

The Devadasi was a temple dancer devoted to the service of the deity in Hindu temples, particularly in South India.

 

Primarily Bharatanatyam, the dance practiced by devadasis was considered both a ritual and a form of worship, telling stories from Hindu mythology through intricate movements, expressive gestures, and emotive storytelling.

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Supported by â€‹

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KATHAK

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Tum San Naina Laage Re | The Eyes of Love (5 mins) by Bhaskar’s Arts Academy

 

Kathak originated in northern India as a narrative art form performed by travelling bards who told stories from the Hindu epics and mythology through dance, songs and music. It derived its name from the word “kathakar” meaning “storyteller.”

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This work showcases Kathak's rhythmic footwork, intricate hand gestures, expressive facial expressions and body movements, and stylised poses to tell a story about love and longing.

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Supported by â€‹

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KATHAKALI

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Cherita Singapura (11 mins)

by Bhaskar’s Arts Academy

 

Kathakali is a dance-drama from the state of Kerala, known for its vibrant costumes, elaborate makeup, expressive gestures, and powerful storytelling. It combines dance, drama, music, and ritual to enact stories from Hindu epics.

 

Cherita Singapura, which tells the story of how Singapore got its name, shows how the art form can be adapted to make the performance more relevant to local audiences. 

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Supported by The Stewards of Intangible Cultural Heritage Award Project Grant.

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KUCHIPUDI

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Thillana Raga: Dharmavati (11 mins)

by Shantha Ratii Initiatives

 

Kuchipudi originated from the village of Kuchipudi in the state of Andhra Pradesh. The dance is known for its graceful movements, rhythmic footwork, and expressive storytelling that combines devotion and entertainment.

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Kuchipudi's unique choreography is showcased in this lively and captivating performance inspired by a legendary tale from Hindu tradition.

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Supported by 

ODISSI

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Shiva Panchaka (7 mins)

by Bhaskar’s Arts Academy

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Odissi is one of the oldest and most lyrical dance forms of India, originating from the eastern state of Odisha. It is known for its graceful movements, sculptural poses, and deeply devotional expression. 

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Shiva Panchaka is a dance dedicated to the Hindu Lord Shiva and is a fine example of classical Odissi that was originally performed in temples.

Produced & Pesented by

Venue Partner

ODISSI

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Timeless Motion (8 mins)

by Chowk Productions

 

Though ancient in origin, Odissi, like the other Indian classical dance forms, continues to evolve and find relevance in contemporary contexts and expressions that transcend cultural boundaries and time. 

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This performance begins in Odissi's traditional devotional form, then transitions as its characteristic dance vocabulary is deconstructed and reimagined through a contemporary lens.

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Supported by 

Produced and Presented by
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