3.3. 2012 vystoupili účinkující z představení Šivovo kolo života jako hosté na hlavním večeru výročních filmových cen Český lev!
4.2. 2012 taneční ukázka z Šivova kola života v přímém přenosu z nominačního večera Český lev! (cca v 67. minutě)
3.2. 2012 Jana Hemelíková Baudisová s Anežkou Hessovou v pořadu City koktejl. (cca v 15. minutě)
27.1. 2012 Jana Hemelíková Baudisová a Radim Špaček v pořadu Živě na jedničce. (ČT1)
V pořadu Sama doma na ČT1 26.1. 2012 (cca v 17. minutě) Jana Hemelíková Baudisová, Óm-Sajwel Sasidharan a Radim Špaček.
Dance-audiovisual performance inspired by Indian culture and dances (Bollywood, Bhangra, Bharatanatyam, Kathak).
A poetic tale of two sisters Rasa and Maja (Good and Evil) passing through the cycle of life – BIRTH, LOVE, TRADITION, PRAYER AND DEATH.
The story is inspired by Indian mythology symbolism but it also addresses essential drives and ultimate questions of human existence, reaching far beyond borders of countries and cultures.
This unique combination of traditional and contemporary Indian music and dances with European and Indian cultural feelings accompanied by a dynamic film show creates an extraordinary theatrical event.
An exquisitely directed grandiose dance spectacle consisting of 19 choreographies by leading Czech and foreign choreographs with 16 performing dancers and actors.
Dance styles inspiring the performance:
Bollywood dance - originates from traditional Indian dance styles and folk dances but it has incorporated along the way elements of modern western dance styles and it doesn´t hesitate to be inspired for example by MTV music channel or Broadway. Such a new out coming dance is a very beautiful, dynamic and varied one, using the traditional Indian dance elements, positions and mudras enrobed in fresh modern rhythms. A hero or a heroin dances usually together with a large accompanying group of dancers in innovative choreographies with such a harmony and coordination it makes you feel shivering down your spine.
Bhangra dance - is a name for music and dance originating from the Punjab Region. Indian people traditionally performed Bhangra, which was originally a folk dance, when celebrating the coming of spring. Today the name Bhangra is used as an overall term for a modern Indian dance, which draws from many initially different dances (Jhumar, Luddi, Giddha, Julli, Daankara, Dhamal, Saami, Kikli, Gatka) and mixes them with modern rhythms and influences of western dances. It can be called an Indian pop from a simplified point of view.
Kathak - the roots of Khatak dance go way back to ancient Northern India thus it originates from nomadic bards known as the Kathaks or storytellers. What is typical for Kathak’s technique is an advanced choreographic expression manifested by mudras /hand gestures/, rhythmical leg moves, facial expression and figurative body positions. The leg work is based on complicated rhythmical units. The dancer is wearing “ghungaru”, cascabells, tied to the legs and the rhythmical resonance of the leg moves is admirably synchronized with gestic positions of the upper part of the dancer´s body. Pirouettes and jumps performed in rhythm are highly emphasized as well. Apart from the components of pure technique Kathak still carries on retelling of ancient Indian myths and legends. Body positions and gestures represent Hindu deities and legendary characters. The dance expresses human emotions and it can become an original base for theatrical poetic expression.
Bharatanátyam – is a classical temple dance from Tamil Nadu in South India. It is considered to be one of the oldest preserved dance styles. In spite of its ancient origin it has been becoming more and more popular in India and world wide as well – many people favour Bharatanatyam for its spiritual depth, which cannot be found in other dance styles. This traditional Indian dance has always been a way of worshiping the deities. Bharatanatyam was originally danced in temples as a part of ceremonies and rituals; it was accessing rich Indian mythology to the general public. The dancer is telling stories by her dance; as means of expression she uses mainly mudras (palm and finger gestures) and facial expression. The dance is accompanied by Carnatic music.