Martin Lutz
bangaloREsident@Attakkalari Centre for Movement Arts

For my collaboration with the Attakkalari Centre for Movement Arts, the Goethe-Institut / Max Mueller Bhavan gave me the opportunity to stay twice for quite a while in Bangalore. First from the end of September to the end of October 2016 and finally from mid of January to mid of February 2017.
The performance Bhinna Vinyasa was premiered at the Attakkalari India Biennial 2017.
The premiere preceded a very intense period of artistic examination and dialogue with the collaboration partners from India, Italy and Spain.

© Attakkalari Centre for Movement Arts Under the leadership of the artistic director of the Attakkalari Centre for Movement Arts,
Jayachandran Palazhy, Bhinna Vinyasa was created together with six dancers from the Attakkalari Repertory Company, the Spanish dramaturge Andrés Morte, the Italian video artist Luca Brinchi, the Indian lighting designer Shymon Chelad, the Indian musicians KRV Pulkeshi, Balasubramanya Sharma and P. Janardhana and myself, who was responsible for composition and sound design.
Bhinna Vinyasa, a ‘realm of changing configurations/assemblages’, explores metaphysical journeys prompted by internal and external forces resulting in profound changes in the lives of individuals and communities. 

© Attakkalari Centre for Movement Arts Alluding to the imagined ancient idea of the ātman (individual soul) and paramātman (universal meta soul) as well as the rhizomatic relations in the “post-humanist future”, Bhinna Vinyasa traverses the notions of self through a continuous process of becoming and disappearing, where the coordinates of time and space appear elastic.

The fusion of Indian traditions (dance, music and philosophy) with a contemporary global awareness and aesthetic appeal made the composition a challenge.The musical aspect is based on a specific kind of traditional Indian music, composed and recorded by musicians from Bangalore. To bring the idea of the piece together with the aesthetics of the Indian music, I was trying to transform components of the Indian music, to destroy them or only use certain aspects of them.

© Martin Lutz The sounds I’m working with are mainly field recordings from transit facilities, sounds of deconstructed instruments or the elements, like wood, metal, water, whatever and recordings of electromagnetic waves of the Silicon Valley of India. The result is electro-acoustic music between multi-channel sound installation, soundscape and noise.
Bhinna Vinyasa was co-produced by Fabbrica Europa (Florence) and had its European premiere  in Florence in June 2017 with a subsequent tour through Italy (Rome, Ancona, Milan, Verbania).