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Come dusk on February 29, the stage at the National Centre for Performing Arts will witness a carnal kinesis. Bodies will shrink and stretch to reveal corporal movements set against a digital canvas. Commissioned by the Museum of The Museum of Art & Photography Bengaluru, this visual backdrop has been designed by Kunihiko Matsu, a Japanese graphic artist.
Spectrum 2024: the annual dance festival at NCPA commenced in 2018 to unify various Indian dance forms under one roof, informs Dr Swapnokalpa Dasgupta, head of the dance department at the National Centre for Performing Arts.
The last leg of the festival concludes with ‘Contemporary Dance’ which will be performed by a troupe of 8 movement artists led by Jayachandran Palazhy, the artistic director at Attakkalari Centre for Movement Arts, Bengaluru. In an interaction with Midday, the duo takes us through ancient Indian dance wisdom, and the need to preserve it and prepare a discernible audience.
Somatic: relating to the body as opposed to mind
Speaking to Midday on a Zoom call, Palazhy demystifies somatic arts by circularly tracing his fingers: “What you saw was a defined movement. When I engage my gaze, it acquires an additional layer of dimension. And, now if I trace a bigger circle, the movement becomes macro, inhabiting a larger space.”
As each movement unfolds, it activates various body parts, a process Palazhy describes as “rewiring the body.” Consequently, every motion sets off a chain reaction, permeating spaces and igniting energy on an atomic level.
The dance maestro emphasises that to fully grasp the essence of somatic movement as an artist, one must possess exceptional multitasking abilities. This entails simultaneously inhabiting the physical and the imaginative realms—but also in a temporary way as dictated by the music.
Furthermore, with advancements in technology and visual arts, an artist must upskill herself to navigate elements beyond mere lighting. Breaking new ground in their field, this one-of-a-kind contemporary dance blends physical expression with digital simulations, uniting the realms of the tangible and the visual.
Somatic wisdom embedded in Indian dance traditions
The core idea behind the choreography is in line with Attakkalari’s motto, which finds its roots in traditional physical wisdom, innovation and technology. “As a part of our Nagarika online interactive archive on Indian somatic expressions – we attempt to unearth the concepts of body and principles of movement about the somatic wisdom embedded in Indian performance and physical traditions,” informs Palazhy.
Upon conducting months of research, the team extrapolates the new-found information to process contemporary experiences, aspirations, memories and imagination which further informs their choreography.
Palazhy takes us back in time when Indian dance evolution underwent an obstruction. “Because of our colonialist past, we had a little break in our natural development of our dance forms.” He highlights the necessity for contemporary practitioners, be it in Bharatanatyam, Mohiniyattam, Kathak, Kuchipudi, or his own experience, to integrate our rich heritage and ancient dance wisdom into the ongoing development of our art forms.
“Our goal is to preserve the strength of our tradition while also embracing evolution, as it is integral to defining our identity. India`s identity must remain dynamic rather than stagnant. This belief has driven our efforts over the years, during which we`ve explored various subjects,” he adds.
Narrating tales with dance movements
The presentation will include different themes exploring various aspects of human existence.
Prayer of a different kind: Kabir’s poem set to tune by Kumar Gandharva, is a piece developed and performed by Attakkalari’s rehearsal director and choreographer Hemabharathy Palani, who moves effortlessly to the iconic music of acclaimed singer Bindhu Malini.
Reflections draw inspiration from the distilled geometry and poetic grace of classical dance Bharatanatyam and portray the inner sanctity and elegance through the precision and skill of the moves of the dancers.
Nava Durga: Created during the lockdown phase and based on the images of Goddess Durga by nine contemporary female painters, this piece explores the plight of contemporary Indian women, their trials and tribulations, and their fight for justice and equality.
Vanna Vativukal explores the male and female energies that exist within us, particularly the playful nature of the period of courtship. Set to specially composed music by MIDIval Punditz, images of rites of passage of time and rituals as well as elements, such as water, are invoked in this celebration of sensuality.
Jeeve Pravah: Set in response to the poignant sight of migrants journeying back to their distant villages amidst India’s sudden lockdown due to Covid-19, Jeeva Pravaaha peeks into human experiences and memories, diverging from glorifying India’s megacities or their architecture. Portraying the city as dynamic rather than immutable, this piece is much like the changing skyline of Mumbai.
It delves into the intricate human connections expressed by great poets of the era, envisioning freedom from grandeur and praising wandering devotees carrying divinity within. Seamlessly blending heritage, memories and contemporary cityscapes, the performance unfolds the transformation of the notion of home—from a refuge to a place evoking seclusion and tension.
The music for this performance has been crafted by Bindu Malini and MD Pallavi, both of whom are acclaimed singers and composers, having received national awards for their work. They primarily chose to work within classical traditions, albeit with a contemporary twist. Rather than strictly adhering to the classical genre, they draw inspiration from it.
“You can also discern the influence of the Ragas in their work, with some well-known songs, such as snippets from Kumar Gandharva`s repertoire, included,” remarks Palazhy.
“I believe the audience can anticipate a multifaceted experience, combining both auditory and visual elements. With multiple layers incorporated, there`s something to appeal to everyone. Whether you`re intellectually engaged and reflective or simply seeking artistic enjoyment, plenty will captivate your interest.
If you`re someone who responds to performances on a visceral and sensory level, there`s also something tailored for you. In essence, this experience caters to everyone, spanning from children to adults.
Cultivating a discernible audience
Over the past 14 years, Palazhy has made a deliberate effort to educate himself, recognising that many art forms are often overlooked in our education system. However, with the recent overhaul of the national education policy, there`s a growing acknowledgment of the importance of creative arts education in fostering a knowledge economy. This emphasis on creativity is evident in schools and colleges, including Attakalari’s diploma program, which attracts students primarily from Mumbai and Maharashtra, especially Pune.
Through their Mobile Academy initiative, the institute has had the privilege of teaching at various esteemed institutions, such as the National Film Institute in Pune, the National School of Drama, NIFT (Fashion Technology Institute), Srishti School of Art and Design and several universities, including IIT Hyderabad.
“As an arts organisation, we understand that our role extends beyond mere performances; we aim to cultivate an audience that is both informed and discerning in their appreciation of the arts. In Indian aesthetics, we recognise that the creation of `Rasa` is not solely the performer`s responsibility but emerges from the dynamic interaction between performer and audience, encompassing various dimensions such as energy, metaphor, symbolism and imagery,” outlines Palazhy.
In the realm of education, he advocates for the idea that dance embodies simultaneous inhabitation of multiple spaces. Commenting on the link between body movements and music, he states that neuroscience underscores the profound impact of dance and music education on cognitive development, shaping children`s cognition, memory, imagination and creativity by forging new neural pathways. Thus, integrating arts education into the curriculum holds immense significance in nurturing well-rounded individuals.
Reflecting on my journey, Palazhy recognises dance as a profoundly intellectual pursuit, manifesting in physical form while simultaneously pushing the boundaries of the present to touch upon the future.
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