WHAT ?
The reactionary phase of work led me to consciously situate my project in a TALE OF TWO CITIES.
London and Chennai contested here tries to find a tactile relationship by involution of Chennai into London’s landscape.
The Project uses Gestures, Palimpsests and Cartography deliberated through movements of a classical Indian performative art – BHARATANATYAM. The intention is to create the necessary flux to establish modes of engaging into a foreign landscape for an ancient and prevalent Indian art.
WHY ??
Chennai being a British colony in history has lot of Colonial traits and reminiscence. The relational dynamics and differences in art and culture of these two cities are full of potential yet to be explored.
After reading part of the book, NON REPRESENTATIONAL THEORY by Nigel Thrift; I was consumed by the notion of existing social constructions and precincts of our so called democracy and the lame political order across the globe. The book also illustrates the mutilated and curtailed human aspirations in this prescribed world order, the only respite being our own fascination through art, music and dreams or sometimes a parallel world too – indeed a true sense of freedom, expression, discovery and invention.
It’s my fascination to see the fusion of an Indian art in a new landscape. Bharathanatyam is a classical dance which has Hindu mythological references. It is believed to be the cosmic dance between Shiva and Parvathi (Indian God and Goddess). The dance form is still practiced in southern India with innate details of hand and bodily gestures, predominantly performed by females.
HOW ???
The Bharatanatyam involves
Abhinaya (expression) or Natya - dramatic art of story-telling in Bharatanatyam
Nritta - pure dance movements, as a medium of visual depiction of rhythms
Nritya combination of Abhinaya and Nritta
[Relationship – the story for the dance]
The observance of Kumbh Mela dates back many centuries in Ancient India to the Vedic period, where the river festivals first started getting organised. In Hindu mythology, its origin is found in one of the popular creation myths and the Hindu theories on evolution, the Samudra manthan episode (Churning of the ocean of milk), which finds mention in the Bhagavata Purana, Vishnu Purana, the Mahabharata, and the Ramayana............
The western contemporary dance uses Laban Movement Analysis for choreography. More Interesting techniques are being explored in Synchronous-Objects by William Forsythe, visualizing choreographic structure from dance to data to objects.
The story would be enacted as a metaphor for a cartographer based in London; enabling mapping of geographies influenced by an art form. The Latency of the foreign performative art, if induced in shaping landforms would be sudden; leading to much more deliberated landscapes for future spaces (cities). The Spatial formations and geographic art renditions of Julie Mehretu are lines of work to be explored upon.
Cartography is an interesting subject by itself, but when interlaced with inducing architectures of foreign references; it makes the cartographer into a cybernetician. The Dancer, for example, could become a social object for our cartographer to exercise his role.
My Mother’s notational representation of Bharatanatyam would be enacted as a language of expression to map dance data to objects in the Gestural Space. The wetness of the project is in the way it illustrates, art in art; space in space and difference in difference.
The reactionary phase of work led me to consciously situate my project in a TALE OF TWO CITIES.
London and Chennai contested here tries to find a tactile relationship by involution of Chennai into London’s landscape.
The Project uses Gestures, Palimpsests and Cartography deliberated through movements of a classical Indian performative art – BHARATANATYAM. The intention is to create the necessary flux to establish modes of engaging into a foreign landscape for an ancient and prevalent Indian art.
WHY ??
Chennai being a British colony in history has lot of Colonial traits and reminiscence. The relational dynamics and differences in art and culture of these two cities are full of potential yet to be explored.
After reading part of the book, NON REPRESENTATIONAL THEORY by Nigel Thrift; I was consumed by the notion of existing social constructions and precincts of our so called democracy and the lame political order across the globe. The book also illustrates the mutilated and curtailed human aspirations in this prescribed world order, the only respite being our own fascination through art, music and dreams or sometimes a parallel world too – indeed a true sense of freedom, expression, discovery and invention.
It’s my fascination to see the fusion of an Indian art in a new landscape. Bharathanatyam is a classical dance which has Hindu mythological references. It is believed to be the cosmic dance between Shiva and Parvathi (Indian God and Goddess). The dance form is still practiced in southern India with innate details of hand and bodily gestures, predominantly performed by females.
HOW ???
The Bharatanatyam involves
Abhinaya (expression) or Natya - dramatic art of story-telling in Bharatanatyam
Nritta - pure dance movements, as a medium of visual depiction of rhythms
Nritya combination of Abhinaya and Nritta
[Relationship – the story for the dance]
The observance of Kumbh Mela dates back many centuries in Ancient India to the Vedic period, where the river festivals first started getting organised. In Hindu mythology, its origin is found in one of the popular creation myths and the Hindu theories on evolution, the Samudra manthan episode (Churning of the ocean of milk), which finds mention in the Bhagavata Purana, Vishnu Purana, the Mahabharata, and the Ramayana............
The western contemporary dance uses Laban Movement Analysis for choreography. More Interesting techniques are being explored in Synchronous-Objects by William Forsythe, visualizing choreographic structure from dance to data to objects.
The story would be enacted as a metaphor for a cartographer based in London; enabling mapping of geographies influenced by an art form. The Latency of the foreign performative art, if induced in shaping landforms would be sudden; leading to much more deliberated landscapes for future spaces (cities). The Spatial formations and geographic art renditions of Julie Mehretu are lines of work to be explored upon.
Cartography is an interesting subject by itself, but when interlaced with inducing architectures of foreign references; it makes the cartographer into a cybernetician. The Dancer, for example, could become a social object for our cartographer to exercise his role.
My Mother’s notational representation of Bharatanatyam would be enacted as a language of expression to map dance data to objects in the Gestural Space. The wetness of the project is in the way it illustrates, art in art; space in space and difference in difference.
No comments:
Post a Comment