Dance
किसी शास्त्रीय नृत्य को देखने वाले एक आम दर्शक के रूप में मुझे लगा कि यह सब किस तरह से मुझसे और मेरे जीवन से सम्बद्ध है। इन नृत्य प्रदर्शनों में दिखाए जाने वाले कथानक अक्सर वे कहानियाँ होती है जिन्हें मैंने बचपन से सुना है फिर भी मुझे इसमें कोई विशेष रूचि नहीं लगती। लेकिन सुश्री रत्नम के दृष्टिकोण के आधार पर, पुराने कथानकों को आधुनिक रूप देने के उनके प्रयासों और किसी पुरानी परंपरा के लुप्त हो जाने पर दुःख प्रकट करने के स्थान पर नृत्य को एक नया रूप देने का के प्रयास को देखते हुए भरतनाट्यम और अन्य शास्त्रीय नृत्य अब और अधिक प्रसांगिक हो जाते हैं जिनसे आप आसानी से जुड जाते हैं।
एक अलग जेंडर के शरीर के लिए मेरी इच्छा निरंतर और बेदर्द नहीं थी। ये तेज लहर सी होती और हमेशा मुझे उस शरीर के साथ काफ़ी संतुष्ट छोड़ जाती जो मेरे पास था। बृहन्नला का अवतार उस प्रकार की अस्थायी और पलटने योग्य संभावना के लिए एक संदर्भ बिंदु या आदर्श रूप बन गया।
I just celebrated my twenty years in India last October and designed a performance for the occasion: ‘What is dance?’…
In the video section, watch Tishani Doshi perform one of her most haunting and popular poems ‘Girls Are Coming Out of the Woods’. Using the movements of/in body, music and language, it is a powerful expression of Tishani’s expansive vision of resistance, freedom and solidarity in the face of violence.
“Does my sexiness upset you? Does it come as a surprise that I dance like I have diamonds at the…
“Something about this pose brought about a sense of owning my body, my persona, my expression, my sensuality, my whole being. The drop of the hip made the bottom vertebrae curve, and appear out of alignment from the rest of my spine. A deviance, defiance of the normal straight stance. A resistance, a revolt of sorts.”
The film has all the makings and trimmings of a commercial thriller – a dynamic story, song and dance, an action-packed climax – and at the same time, it is a cinephile’s film.
In December TARSHI interviewed Anita Ratnam, who is a leading Bharatanatyam dancer and choreographer based in Chennai. In her own…
I’ve essentially thought of movement as a kind of freedom, but one that has the capacity to destabilise you in some way. My most creative moments are when I’m not moving, when I am in fact rooted and still.
Sheema Kermani is a cultural activist, theatre practitioner, theatre director and a known Pakistani exponent of Indian classical dance. She had studied Bharatanatyam…
This is a good enough place to begin. From inside your own skin. Before we could speak, we moved. We…
It is not entirely impossible to imagine that classical Indian dance is timeless or that the stories narrated in these…
[slideshow_deploy id=’5086′] Persian dance in spite of its remarkable history has become a less known form of dancing from the…
[slideshow_deploy id=’4883′] This series of images captures a few Indian dance forms that have over time told stories of desire….
I started learning Bharatanatyam in 1988, when I was six years old. Looking back, it feels like beginning to learn…