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| Akram Khan's 'Gnosis' |
The Ranan blog will carry regular updates from Vikram over the next few days.
Day 1: Wednesday, 22 August 2012
Landed at 2pm local time after quite tiring
flights from Delhi via Istanbul. But after checking into our hotel, we were
ready to leave by 3.30pm for our first meeting with the Goethe Institut hosts
here and the ten-member delegation from comprising members from India, Sri
Lanka, Bangladesh and Iran.
Arranging the meeting as a first encounter
was indeed a good idea. Living as I do in Calcutta which is often in the
boondocks of the Indian dance world (definitely when it comes to any new work
happening in dance), I had no idea that there were so many people of my age
around the country trying very different, interesting and important initiatives
in dance. I met people from Bangalore and Pune who I did not know existed, not
to mention getting an insight into the dance scene in Sri Lanka and Bangladesh.
But Amir from Iran proved to be the most
fascinating for many of us. And this was not because of the quality of work,
but simply because he – and many others – continue to practice dance in a
country where the act of dance is forbidden. Worse still, the rule is an
unclear, if not, unwritten one, so you never know what you are up against. Amir
who is also an artist, has had his paintings been banned from exhibition, has
even been subjected to interrogation on his return from an exhibition in the
USA. Dance activity is underground in Iran, or disguised under various other
identities. And yet – in the face of such adversity and uncertainty – people continue
to dance.
We, in India, often forget how lucky we are
to live in a functioning secular democracy – however beset with problems our
country may be. We can never envisage a scenario where the very act of dancing
– regardless of content – is banned. And yet we complain about our scenario.
Yet we are complacent and silent when the freedom we already have is threatened
by the mushrooming groups of self-proclaimed moral police. We take our freedom
for granted; we don’t see it as something to be treasured, protected and
defended. We have a lot to learn from those who live in circumstances such as
in Iran – and continue to do what they believe in.
That evening we saw our first performance –
Akram Khan’s Gnosis. Akram Khan is
now one of the most acclaimed and widely sought after dancer/choreographers in
the western world. I have seen some of his work – been wowed by some, and not
so bowled over by others. Gnosis,
unfortunately, belongs to the second category – at least the first part does.
The first part is an hour-long presentation of traditional Kathak re-packaged
for a western audience. An extended Shiva Vandana piece followed by a section
of pure dance meandering into rhythm play and the expected jugalbadi. The only
thing that made it at all different for us Indians was the musicians who
included a western percussionist and a cellist.
I have nothing against watching traditional
Kathak . I am trained in Kathak myself and so is Rishi (another delegate) from
Pune. But if I am to watch a pure Kathak presentation, I will judge technique –
and while one cannot fault Akram Khan on riyaaz, energy, stamina and grace –
his Kathak is nothing more than competent. Every second Kathak dancer in India
could do what he presented, but they would never get featured here in this
festival, would they?! And to have the recital interspersed with rather
pedantic pearls of wisdom “my dance is a mix of Eastern spirituality and
Western science” from a dancer who is all of 35 years old is a bit much to
take! By the interval I was fuming with this pellet of ‘exotic India’.
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| 'Gnosis' - the second half |
However, the second half did something
towards restoring my faith and interest in his work. It was a duet contemporary
piece (in my book, he should just stick to contemporary work and leave Kathak
to others) inspired by the story of Gandhari and her relationship with
Duryodhana. Akram has always been a strong dancer with a powerful presence,
though he is quite diminutive in stature. But here, his co-dancer – someone
smaller than he is – representing Gandhari stole his thunder. She was so lithe,
supple, graceful, powerful, profound and intense – all at the same time.
Effortlessly conveying through her fluid movements pain, joy, sadness, despair,
love… and so much more. I could have watched much more of her and much less of
him without any remorse.
The other very noteworthy point of this
piece was its lighting design. I’m not sure whether to call it good or not. But
it was a design that made several statements and made its presence felt
throughout the half an hour piece.
Overall, though I came away disappointed.
If this is what is on offer – and accepted to heartily and rapturously (more
than 5 curtain calls!) – at such a festival by a performer of his stature, I’m
not sure where dance is headed.
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