Dancer-choreographer
Raka Maitra spent many months excavating the essence of Odissi, one
of the eight forms of classical Indian dance, and Boundaries ...
Dreams ... Beyond is a mature realisation of this effort.
It was clear from the start, however, that Maitra was not working alone.
Chan Man Loon, a multimedia artist, projected abstract images onto the
stage floor in a precise square that filled most of the space. The swirls
and lines of colour provided a moving image that enhanced the dance
to such an extent that it would be hard to imagine it succeeding so
well without it. Backed up by tight and effective lighting by Tommy
Wong, Boundaries was a slick, polished performance.
Unfortunately the music by Philip Tan sometimes seemed at odds with
the dance and I found Maitra's gold-trimmed costume distracting,
both visually and in terms of the contemporary focus of the performance.
Odissi relies on clean lines of the arms, and every position emanates
from a square stance with the feet wide apart and the knees bent. The
dancer moves in a two-dimensional plane, recalling the dancing figures
on ancient temple friezes.
In this new work, Maitra began sleeping in a corner of the floor before
rising to circumnavigate the stage through a series of explorations
initiated by precise arm movements - reaching forward, opening
and closing them to begin anew. This sequence was punctuated by occasional
lunges, spins and some rapid foot work that is another feature of Odissi.
As she circled the stage with slow movements that could have been pruned
somewhat, Tan's score included a deluge of rain that took the
dance in an exciting direction.
From this point on we were transported into the realm of contemporary
Indian dance. Maitra moved freely and succeeded in developing a new
movement vocabulary that had grown from the traditional roots that bound
the first section. As she "felt" the rain touch parts of her
body, she moved fluidly and the dynamics shifted from the previously
controlled, measured pace. She spun, waved her arms, used diagonal directions
and filled the space as she leapt in delight and fell to the floor.
A spotlight lit a small square at the centre of the stage, and the
dance concluded as she tentatively made her way into this square. At
first she discovered this new light with some traditional hand gestures;
then her face and whole body filled the square, and the dance ended.
It was poetic and reflective on many levels - from the mesmerising
progression of controlled steps to free movement, to the overall concept
and the unity of the images captured by the collaborators in this production.
Maitra did not take the applause she deserved because a short theatre
piece called The Blind Age, featuring performers Sreejith Ramanan
and Sajeev Purushothama, immediately followed her exit from the stage.
Though she appeared in it briefly at the end, it did not relate to her
own performance. Age had some good ideas but really, had no
place in this evening of dance.
Boundaries was a significant departure from classical Indian
dance and shows why Maitra is involved in charting contemporary Indian
dance in Singapore through events such as the Grey Festival. The complexity
of this production may not seem a big step, but to those versed in Odissi
and other classical Indian forms, Boundaries marked a giant
leap for Maitra. |
"Maitra moved freely and succeeded in developing a new movement
vocabulary that had grown from the traditional roots that bound the
first section. "
Credits
Choreographer and performer: Raka Maitra
Music: Philip Tan
Multimedia: Chan Man Loon
Vocals: Bhagya Murthy
Lighting designer: Tommy Wong
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From: The Editor (theatre@inkpot.com / Sunday, April 6, 2008 at 22:12:43)
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From: sajeev purushothama (kalari7th@yahoo.com.sg / Monday, April 7, 2008 at 23:29:16)
Hello Stephanie Burridge,
Thank you very much for your review on Boundaries, Dreams and Beyond. Well written!! I really appreciate your interests , Time and Passion to encourage this performance work with your kind words.
Unfortunately we did Not realize that the evening had Not a space for Theatre until you clearly said it by your review. Thank you !!
I am afraid, Unfortunately your Critical Eye has Not matured yet enough to understand What is Indian contemporary dance –theatre . I hope you watched it !
We have received spontaneous and remarkable comments and feedback from the different practitioners, performers, dancers who came to watch and enjoyed The Both works on the Dance evening. How we can give a space here to your literary criticisim “ such things are either partisan opinions which have become petrified and Meaningless, hardened and empty of Life ., or Else just they are clever word -games , in which one view wins today and tomorrow the opposite view . Work of Art are an infinite solitude and No means of approach is so useless as criticism. Only Love can Touch , Hold and be fare to them .
Always trust yourself and your own feeling , as opposed to arguments, discussions, or introductions of that sort, if it turns out that you are wrong, then the Natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent , undisturbed development , which , like all progress, Must come from deep within and cannot be forced or hastened . Everything is gestation and then birthing. To let each impression and each embryo of a feeling come to completion, entirely in itself , in the Dark , the unconscious beyond the reach of one’s own understanding- and with deep humility and patience to wait for the Hour when a New clarity is gone .. This alone is what it means to live as an Artist in understanding as in Creating.
Now, just think if you have time , Who is the Blind ???
Nobody is discouraging you here to make the never ending Applauds, and we are sympathized on the Intellectuals who are unable to understand the visible, Artistic relation and connection of the Both performances. As performers we realized that the dance evening Has tremendous possibility and Had a better Place for the short movement theatre piece called Blind Age.
Will someone Listen Who is Not Blind , Not deformed , someone who will save the future?
Regards
Sajeev purushothama
3rd year
Theatre training and Research Programme
11, upper wilkie rd,
Singapore-228120.
From: Joyotee (mrsindia@gmail.com / Monday, April 14, 2008 at 07:55:51)
Hi
I have been watching Raka's past few shows and I do think this was one which appealed to all my senses. As a dancer and a choreographer I think Raka does understand that a performance it about its totality and hence the choice of multimedia effects and music and lighting all go to compelete this picture. I loved her movements to the rain effect and thought to myself that this was one of the best dance performances that I ahd seen to date.
The Blind Age is a beautiful idea dn probably needs to be seen in its totality for us to comment. However what I saw was very touching. Art, drama and dance alll should be cathartic ....this definately met the criteria.
From: Mr India singapore (mrindiasingapore@gmail.com / Monday, April 14, 2008 at 19:49:07)
Dear J.y….,
How nice to hear your words about the review on dance. I also feel in the same line . I have been watching Indian contemporary dance in Singapore for the last 10 years. I have never seen such a great and marvelous Indian contemporary dance drawing the techniques from whole traditional and classical dance theatres of Incredible India. I think it is a great Leap by the courageous classical indian dance performer into contemporary Indian dance performance and the proper blending of Light , Multimedia and Highly innovative music was actually supported the successful performance. As you said The rain effect was beautiful in the performance and I really inspired with just that piece to make me to just sit there with the complete sensuality of rain drops.
The performance was appealed to my all senses and I really became just angry about my friends and colleagues who Fell asleep and Bored in the performance. I think they can’t understand Indian contemporary dance performance and I must say they are not Indians. We are proud Indians and only we ourselves can appreciate our dance in this global art scene.
I also don’t know that there will be a theatre show and actually I don’t understand what was going on there. Those young boys are just ok but I don’t think that performance has any relation with the first Dance show.
“ A friend who Lies for you May also Lie Against You “
With lots of Love
Mr.India
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