A workshop I attended "Dance that defies definition"

by Shonali Muthalaly , Saturday, Sep 29, 2007
Marcia Barcellos was restless. So she left her home in Brazil almost 30 years ago, searching for something she couldn’t really define. Now she’s a dancer, choreographer and co-founder of the contemporary French dance company System Casta fiore. Doing something she can’t really define.
“Sometimes, critics say it is not dance. Well. We are dancers, so it’s dance, right? You have theatre without words, but still it is theatre,” she shrugs expressively, flailing her arms about at the Alliance Francaise auditorium after a workshop with a group of city dancers. “I work with dancers, I’m a choreographer. Actors cannot do what we do. But, it’s everything at the same time. Not only movement, not only theatre. Also lights, costumes, sounds… I don’t ask myself what it is. Dance. Theatre. Mime. Whatever… I don’t care,” she says, adding definitively, “This is what we do.”
So, what do they actually do? Well, from an audience’s point of view, it looks deceptively easy. Exaggerated movements, caricatures of people, over-the-top costumes, all meticulously choreographed to tailored music, all telling a story — whether it’s a Greek epic soaked in high drama or a funny sketch of a vain swain next door.
The truth is it takes immense patience, strenuous practice and unbelievable flexibility. Denis Giuliani, also from System Castafiore, goes into the greenroom in arty black and comes out transformed into a loud, bumbling French man who looked like he had just eaten Denis. His enormous navy blue pants stretch across a huge, wobbly stomach and are held in place by suspenders. “Just three weeks in Madras and look at him!” giggles Marcia. He begins a comic sketch set to music, portraying a pop-eyed, irritable football ground watchman, vigorously running through the entire gamut of emotions and expressions in just a matter of five minutes. All in perfect synchronisation to the music.
Inspired by real life
“We’re inspired by regular human behaviour,” says Denis, catching his breath once he concludes. “I start from real life. Look at someone who’s funny in the street,” he says, imitating a macho man admiring his pumped up arm muscles, and wiggling his eyebrows at passing girls.
“The steps, we invent them,” says Marcia, “It involves searching, which for us means doing things: taking photos, making experimental films, reading, travelling, learning. The choreography and music are the last details.” This search is what brought them from Grasse in France, where the company is based, to India. “We met someone from Kalakshetra and asked the French government to sponsor us,” says Marcia. “We’re attending classes in yoga, Carnatic music, Bharatanatyam, Kuchipudi… trying to absorb as much as we can.” The idea is to get the flavour of art forms across the world, and then — like magpies — pick up attractive bits and pieces to decorate their own productions.
“In Bharatanatyam you have a vocabulary – everything is set down. The position of the head, the eyes... But we have no rules. Bharatanatyam is a lot more complicated. This is simple. But this also involves inventing, with a lot of humour.”
They’re also hoping that India will throw up a lead actor for their new production, which will tour the world. However, they’re still not sure what it will be. Though, as Marcia says, they’re sure “There will be a hero. It will be magnifique. Extraordinary characters, magical animals…”
Discussing the need to be open to inspiration, she adds, “Things happen and you change your route… The idea is to do something… something we can put in an airplane. When we come to India we will choose an Indian actor, then we take it to Brazil with a Brazilian.” And so on. “If you take someone from a specific country he will add his way of telling it… it gives,” she pauses. “A little bit more spice,” interjects Denis with a grin.
SHONALI MUTHALALY

Lasya and abhinaya by Sindhu Vijaykumar

Publication:Times Of India Chennai; Date:Jun 14, 2008; Section:Chennai Times; Page umber:29
Mohini attam, the dance form which is an epitome of lasya is setting its roots deep in Chennai. The young generation seems to be enchanted by the swaying movements of this predominantly abhinaya oriented dance form which has its origin in Kerala. Gopika Varma, who was first to establish a dance school, Daasya, exclusively for Mohini attam in the city is all smiles, when she talks about the transformation. "In 1993, when I started the school, I used to teach students free of cost as I wanted to spread the art. No sabhas were ready to open their premises for a Mohini attam performance. But now the scene has changed. No marghazhi season is complete without Mohini attam performances; rather I should say that dance forms from various parts of the country are making it to the city," she says. The State government also did its bit to infuse life to this art. The government felicitated Gopika with a Kalaimamani award in the year 2007. "It is a matter of pride that it was the first time, the prestigious award went for a non-Tamil category dance form since its inception,' says a visibly contended Gopika. Rather than colourful costumes and heavy jewellery, it is the simplicity and the power of abhinaya that make a statement. The simplicity is visible even in the costume, which is predominantly white or off white with zari borders in gold or red. The hair is tied in a bundle on the left side with a simple ornament adorning it along with strings of jasmine. A pair of big ear studs and simple ornaments like a choker and kasumala often goes along with it. The dancer with her abhinaya, which involves eyes, eye brows and eye lids, and swaying movements literally create an alluring ambience, thus taking the audience to the highest aesthetic order of enchantment. Perhaps Mohini attam is the only dance form that was subject to several revivals and renaissance. “It is a dance form which allows lot of innovation right from the lyrics to the adavu”, says Gopika. According to her the text form for the dance is taken from Balarama Bharatham, written by Karthika Tirunal Baalarama Varma, an ancestor of King Swathi Thirunal. The mudras taken from Hastha Lakshna Deepika are now available in interactive CD format. She along with Kalamandalam Suganthi, a Mohini attam exponent has introduced 110 sublines of adavus to the former 24 major adavus to make it more flexible and reachable to the audience. The lyrics of the dance form are basically Sanskrit, Malayalam and Manipravalam. Supriya Rajan took up dancing after marriage and she says that it has worked wonders for her. “Besides posture, expressions and grace, my overall personality has changed. My love for the form is because it is the most sensitive of dance forms and very graceful”. She also says that it is the most difficult art form to excel. Madhumathi, a post graduate, started learning it just because she liked the style. "Though I know Bharatanatyam, I was attracted towards Mohini attam as I really liked the style. I have been learning it for quite a while," she says. Vipina, Apsara, Preethi and Aswini are a bunch of students who are all set to enchant this city with their unparalleled movements.

Rhythm Divine- A dance production by Astad Deboo

Rhythm Divine- Touching your spirit.

Why would anyone try to infuse an alien language and colour to a vibrant and rich culture like the one which Manipur possess? This is exactly the thought that I had in my mind when Astad Deboo's new production 'Rhythm Divine' premiered at Rangashankara in Bangalore on 27th Feb. The production encompassed of Pung Cholom drummers from Manipur and Astad Deboo himself.

The show started with the protagonist (Astad Deboo) wrapped loosley with a translucent sheet of plastic; the Manipuri drummers positioned around him. The scene began with stillness and darkness which lasted a while and slowly you could see the lead dancer showing some sign of life. It made me sigh. The life inside was struggling. It wasn't sure whether the figure or the man inside was trying to come out of his wrap or was just displaying his angst. The piece ended with the man yielding probably to his own angst. The drummers took the main stage sans the drums.


The show moved on with Astad dressed seemingly as a pastor interpreting western classical church music. The piece was slow and the stillness instead of making one restless drew closer to the piece. When the Pung Cholom drummers danced to the western classical tunes the discord was very visible and you wonder why they are made to tread uncomfortable paths.

Finally the western classical music instead of influencing the local tunes was witnessed being influenced by the sound and the flavour of the land. It was a sense of relief and joy that one felt when the drummers and the protagonist dancing to Manipuri rhythms. The drummers had the chance to exhibit their true art with their ever too familiar drums, which they did with much gusto. They depicted Krishna's leelas. The audience's spirit was elevated to a different level, a greatly exhilarating experience.

The transition of the protagonist from the Western to Manipuri was beautifully depicted by Astad. The piece where he dressed in dazzling purple attire which looked similar to a Kathak costume was captivating. Probably it was the highlight of the show. The drummers lined up on the stage and the protagonist dressed in the same traditional costume as the Pung Cholom dancers said it all. The local flavour, the colour and the vigour can't be matched by any outside element. It could be enhanced but never replaced. Hats off to Astad Deboo and Guru Seityaban for this enriching work.

Natyanajali festival 2008

Had the opportunity to perform at Natyanjali festival on March at Thiruvarur and on March 9th at Tirunallar and Nagapattanam.
In Thiruvarur had the privilege to watch Sonal Mansingh on stage. Her concert was hilarious, specially the Mohini in the Navarasa piece nLord Shiva. The music ensemble had a surprise element; the Keyboard which allowed interesting sound effects. She had everyone in peels of laughter on and off the stage. An unforgettable experience it was.