Gandari is the lesser-known and underexplored character in Mahabhata. She is always associated with the evil/darker side of the epic story. She closed her eyes to what happened around her because she wanted to be as unseeing as her husband, who was born blind. But Geonawan Mohamad looks at her from a different angle. He sees her as a mother who daily recieved new of the Kaurava's-her childrend's - demise in the hands of their Pandava cousins. It was her grief that led her to close her eyes to the world.

Geonawan Mohamad's take is then transformed and connected to the relevant problems of today. Through this opera, the figuer of Gandari now exists as a concept. Moreover, the poem itself is not a complete story of Gandari, but merely a collage of Gandari's fate; there is no beginning and no end. This is also one the the main themes, or perspectives, manifested by the opera - Gandari as an idea or a concept, rather than a figuer to be presented on stage. 

The music composition also flows out of the same principal "governing" the text that inspires it - making it into something poetic. As well as the choreography, created by SU Wen-Chi. The movements were born out of a contemplation of Gandari, as a concept, that melds and unites with the music to create a collage.