Local Times - everyone, everywhere invited!
London (BST) 5pm-6.30pm
San Francisco (PDT) 9am-10.30pm
New York (EDT) 12noon-1.30pm
Berlin (CEST) 20:00-21:15
Chennai (IST) 9.30pm-11pm
What is Bharatanatyam? Where and when can we trace the current repertoire and aesthetics of this dance form? Who practices this art form, why and since when? What are the historical narratives that are associated with this dance form and what kind of voices dominate this narrative and what tends to get left out in common practice? These are some of the questions that I will be addressing in the first part of this session/course. We will be engaging with the critical history of the dance form in order to contextualize the different forces that played a part in the current aesthetics of the dance as it is consumed today.
Following this, I will presenting a small excerpt of an item that showcases the rhythmic, poetic and movement vocabularies that form Bharatanatyam today. This will be an interactive session and I invite you to try how some of these ways of moving feels in your body.
How does the dancer move? How do you interpret poetry, rhythm and soundscapes within the received idiom of Bharatanatyam? In the second session of this course we will be delving into practitioner mode. Through three categories- Rhythm, Narrative poetry and Movement- we will attempt to understand and embody the dance from the inside. The participants will be invited to try out rhythmic exercises both through recitation and by stamping the feet in a precise way in order to reflect a precise rhythm.
We will be assembling movements to a given soundscape while respecting those recognisable movement vocabularies of Bharatanatyam. While the movement vocabulary is vast, we will pick a selected set of movements that call to action both major and minor limbs like the hand, feet, arms, chest, eyes, head, etc., to respond to the sound scape.
Following this we will open up engagement with poetry. Bharatanatyam has a vast gestural vocabulary that is on one hand a representation of things that we see around the world, and on the other it is used to visualize human emotions. Gestures here is an all encompassing term that include facial, hand, body, stances, and head to generate meaning as a response to a given line of lyrical poetry. Through this part of the course we will explore ways of embodying gestures while paying keen attention to how these socio-culturally motivated gestures feel on the bodies of individuals who might or might not share the same socio-cultural community and origins.
The fourth and final part of this will be a master class where I will be inviting some students of Bharatanatyam to explore lyrical poetry with me. Here we will be taking three poems that situate three women in society based on ways in which the society gossips about their sexuality. Thus here we will be using gestural vocabulary for gossip and female sexuality while using body holds and facial expressions to situate the societal status of these women. Participants will watch the master class, they could try the movements and gestures taught to the student dancers. They will see how these gestures work alongside poetry and musical tonality to bring out the character, her status, the mood of the poem as imagined by the poet and brought to life by the dancer. At the end of this session there will be a critical debriefing where we will discuss what affect both viewing this exercise and embodying it create in the participants. This will bring into question vectors of privilege and socio-political identity while embodying characters that seem culturally, socially and politically removed from our current socio-political and cultural identities.
Participants will receive an insider's view into the critical theory and practice of a traditional dance idiom from India. You will be able to observe the affect in embodying a culturally and socially constructed dance on bodies that are removed in context from such construction on one hand, and embedded in that construction on the other. You will have insight into a vocabulary of movements, gestures, and rhythmic structures that will give you an added tool for assimilating art and movement.
The number of places on this unique course are limited so that the facilitator can best offer an interactive experience with participants. Drop-in tickets for individual sessions can be booked if places are available.
Type of format: Workshop with Drop-in's Welcome
Duration of each session: 90 minutes
Technical platform for the course: Zoom Pro
Concessionary Ticket - is only for job seekers, students and seniors with a low household income.
Early Bird Tickets End Date: Midnight on June 20, 2021
Drop-In Ticket: You can only purchase one Drop-In ticket at a time. You can expect an email from Intercultural Roots within 1-2 working days providing you with a choice of Drop-In sessions available to you. Upon receipt of your confirmation we will manually add you to the Zoom meeting and you will receive your confirmation and link.
Please ensure that you book at least 30 minutes prior to the start of the course, excluding Drop-In tickets where available, to allow time for you to receive confirmation emails and your entry link to Zoom. This is because we rely on third parties for confirmation etc. Please ensure you have read the Legal notices on our website before booking, in particular our notices regarding Privacy (including Privacy Considerations When Using Zoom), Refund & Cancellation, Disclaimers and Terms.