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Follow the March Dance


The modern dance pageant is again after a two 12 months hiatus, transferring between movies, discussions, and performances

The modern dance pageant is again after a two 12 months hiatus, transferring between movies, discussions, and performances

A dancer, a handful of chalk, an empty stage and a head stuffed with ideas. That’s the premise of Favourite Things by Bengaluru-based visible artist PC Malavika. The efficiency piece makes an attempt to offer expression to the myriad ideas brewing in her head utilizing the two devices she is aware of finest: drawing and motion.

For 40-odd minutes, Malavika will use chalk and her personal physique to transcribe, translate, and switch the “moving pieces” in her head onto the ground at Chennai’s Max Mueller Bhavan. It might be a part of the fourth version of March Dance, the inter-disciplinary pageant by Chennai-based artists’ collective, Basement 21, in collaboration with Goethe-Institut. (It is again after a hiatus of two years, like many annual occasions impacted by the pandemic.)

Visual artist PC Malavika’s Favourite Things
| Photo Credit: Special association

“I’ve always been a fan of long form drawing,” says Malavika, for whom Chennai and the risk of showcasing her work right here is at all times particular. “The challenge is to see how sharing my work with a live audience can influence my thoughts, and therefore my movement.”

Not removed from the place Malavika is rehearsing, Priyabrata Panigrahi, a recent dancer-choreographer from Bengaluru, is working together with his ensemble of 4 dancers to showcase his first-ever choreographic work, How Long is Forever. “The piece is an exploration of the idea of oneness,” he says, explaining that he sees the 5 our bodies as one cloth — as built-in and dynamic components of a respiratory topography. “It’s about moving together and finding the space within each other to move through.”

Preethi Athreya and (right) Padmini Chettur

Preethi Athreya and (proper) Padmini Chettur
| Photo Credit: Ranjani Bharat

A collision of abilities

March Dance is rooted in Basement 21’s need to be a catalyst of kinds for fostering and nurturing concepts, and permitting ideas and folks from throughout disciplines and genres to intersect and collide in a freewheeling method. Over a cup of espresso on a Saturday morning on the terrace of Max Mueller Bhavan, co-founders and modern dancers, Padmini Chettur and Preethi Athreya, share that although they started planning the pageant almost a 12 months in the past, it nonetheless feels a bit surreal. “Let’s just say that I’m curiously awaiting a response [of the in-person experience] when people come by and engage with the works and each other,” says Chettur.

A still from Meghna Bhardwaj’s Bearing Witness to the Knotting Skies

A nonetheless from Meghna Bhardwaj’s Bearing Witness to the Knotting Skies
| Photo Credit: Special association

Spread throughout two weekends, the three-day pageant will function movies and discussions on the first weekend, whereas the second may have performances and movies by dancers / ensembles — who’ve acquired a grant from Basement 21 to both provoke a brand new efficiency or full a work-in-progress. “We knew that many dancers have been creating work through the last two years and dealing with the frustration of not being able to showcase it. Ours is a good platform,” says Chettur. Other performances embrace ones by dancers Vaanmadhi Jagan and Pradeep Gupta.

Chettur’s Anupu cease

Sharing area with movies from the Eighteen Nineties to the Nineties is one made by Chettur and musician Maarten Visser (one other Basement 21 co-founder). A Slightly Curving Place was commissioned by Haus de Kulturen der Welt (House of World Cultures in Berlin), and was created for an exhibition by writer-curator Nida Ghouse that opened in Berlin final July and in Dubai just a few days in the past. “This is a film with a dancer in an archaeological site [Anupu, in Andhra Pradesh, believed to be a Buddhist amphitheatre]. It is equally about her being in the place and, in a sense, filming it, herself,” says Chettur.

Meanwhile, the duo feels that movie has change into a outstanding medium in the previous couple of years, giving company to artistic expression when bodily presence has all however disappeared. So their curation on the first weekend is “an attempt to see how the medium of cinema and dance challenge the borders and roles of each other”, says Athreya. It is crucial to have interaction with movies — Serpentine Dance by Loie Fuller, Kalpana by Uday Shankar, Before We Go by Jorge Leon, to call just a few — to recognise that “dance is located in far more areas than just the stage. The idea is to watch and engage with films in the context of dance other than merely the ease it affords or as an alternative to a live performance. What else can a film be — a process at documenting something, an attempt to push boundaries? We’ll see”.

From March 11-20, March Dance is free and open to all.



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