When I embarked on my MA journey at the Northern School of Contemporary Dance, I found myself referring to Kathak as the Indian dance style with the spins and ankle bells. It was a challenge to explain what the form was to those who had never experienced it. I realised that each explanation I crafted seemed tethered to preconceived notions. As I delved into contemporary performance and embraced interdisciplinary, intercultural expressions, I transcended the established ideals of Kathak.
Now, in my artistic exploration, I embrace the challenge of finding a different approach to Kathak. I employ a gaze that is inquisitive, pluralistic, and feminist to uncover what is my Kathak. I acknowledge the rich history of the form while taking stock of its evolution on and off stage. I draw inspiration from artists who offer new possibilities and perspectives to forms like Kathak.
I welcome everyone, from the curious to the cautious alike, to join us in collectively experiencing South Asian dance in a new light.
-- Shivani Jatar, Dancer and Creative Producer
Read more about the creative process here!
Jyoti Manral (Kathak)
Prarambh - Before the beginning
And, DHA! Jyoti Manral finds that just like the five elements that make the universe, her Kathak is made of five fundamental elements - Body, Action, Space, Time, and Energy. Drawing parallels between the natural elements and the elements of the form, Jyoti uses the bols that are characteristic of Kathak dance to introspect about what Kathak means to her.
Image credits: SAA-uk
Maryam Shakiba (Odissi)
We begin with flowers
Maryam Shakiba explores the significance of flowers in rituals, dance performances, and everyday life. Referring to the conventional Odissi repertoire, she reflects on how flower offerings in the opening act of 'Mangalacharan' mark the beginning of a journey by sanctifying the space.
Image credits: SAA-uk
Debanjali Biswas (Manipuri)
Dvidehi
Debanjali Biswas depicts the story of Amba-Shikhandi from the Hindu epic of Mahabharata. To show the duality characters’ personhood and queer identity, she merges tandava/vigorous with the lasya/languid – both of which come from uniquely different movement systems in Manipuri. The choreography also draws from components of martial movements of Thang-ta, Cholom tandava, or movements derived from dancing with musical instruments, and Raaslila Jagoi, the classical genre.
Image credits: SAA-uk
Kavya Iyer (Bharatanatyam)
(Don't) Tell Me What Bharatanatyam Is
Kavya Iyer takes her practice of Bharatanatyam forward by transgressing rigid lines of the body and the mind. The performance is an exploration of the dualities of the form and her practice that resides in the in-between spaces of Bharatanatyam.
Image credits: SAA-uk
Filmed by RFD Collective/Luke Rainford
Courtesy - SAA-uk and Seven Arts
L-R: SAA-uk CEO Keranjeet Kaur Virdee, Debanjali Biswas, Kavya Iyer, Shivani Jatar, Jyoti Manral and Maryam Shakiba
Image Credits: SAA-uk
The first edition of this project was staged in November 2023 thanks to the generous support of South Asian Arts-uk (SAA-uk). We’re keen to take this project further. We’re seeking partners and collaborators who will help us connect with audiences beyond Leeds. If this seems like an exciting idea that you would like to discuss, please get in touch with Shivani on email shivani.jatar@yahoo.in.