Deconstruction through dance

Contemporary arts allow one the artistic freedom to ponder over critical questions of form, content and space through a finite element, the body.

This was explored with precision and style through three performances by emerging South Asian dancers and choreographers (as part of the event ‘Platform 15’ at Attakkalari IndiaBiennial 2015). They redefined the shackles of the form and broke away from the limitations of the body by engaging in constant dialogue  with the present form and content, to reframing it.    

Be it Vikram Iyengar’s flexible yet graceful style, Rahul Goswami and Ryan’s intelligent choreography or Venuri Perera’s visual treat, the dances acted as signifiers to the direction in which contemporary dance is headed.  
   
The first piece by kathak dancer Vikram, in collaboration with choreographer Preethi Athreya, titled ‘Across, Not Over’ opened with Vikram’s back to the audience, swaying gracefully to a soulful song from the raga ‘Desh’. He showcased a different ‘aspect’ of footwork, transposing and tapping his hands in shoes. 

The piece was mainly to defy the hierarchical space of kathak, yet exploring the beauty of it through an unconventional, critical space. With a move to observe emotional responses through the body and give form to it, the piece, in more than one ways, concentrated on technicalities that looked to isolate certain parts of the body that are considered important in Kathak.

Exploring the tension between movement and stillness, thought and action, the piece was meant to perform outdoors, and a clip was showcased where Vikram dances outdoors, in lieu to explain that the space and atmosphere (very different from stage) influences the art itself.  Rahul and Ryan’s piece titled ‘Animal Connection’ was equally appealing. 

Describing it as ‘a work in progress’, the duo showcased the inner disturbances and animal-like impulses that lie within humans and last for fleeting moments, showcasing the reflections and transitions, through human emotions and animal impulses.   

The icing on the cake was the final piece by Venuri Perera, an artiste from Sri Lanka. It was an interactive performance where she instructed the audience to open and close their eyes, time to time.

The visual treat included Venuri dancing behind a small screen and what was projected was a minute part of her whole body, such as the eye or lips. A slew of hidden messages rushed out as this piece was deconstructed.

“I did the choreography after censorship was imposed on the visual arts industry in Sri Lanka. It deals with power play,” said Venuri. She portrayed what was banned such as moving her hips and showing her back.

The instructions of ‘eyes close and open’ were a change between her own voice and a pre-recorded one. As the audience followed her through the performance, it was interesting to see the displacement that took place in her movement, while not noticing the transition phases. 

This was a take on the power relations and ultimately the audience realise that they are seeing an illusory performance as their eyes are closed most of the time.
 “It’s upto the audience to close their eyes if they want,” she said, in the end. ‘Platform 15’  revisited the colours of South Asia as each dancer was influenced by his or her region.