It is an evening of two separate performances and many contrasts: between student and professional dancers, classical Indian dance and contemporary dance, narrative and abstract forms, and context and style.
Staycation is a performance devised by Akademi for two schools in the Tower Hamlets area. Choreographed by Kamala Devam and Honey Kalaria for George Green’s School and by Elena Catalano (assisted by Maryam Shakiba) for Langdon Park School, it is a project in which the performance reveals the value of the steps taken to achieve it. These are the kinds of projects that can change a life, and as such are vital to the development of the arts and education. One of the girls reveals a natural grasp of performing, while one of the boys is clearly thrilled at the opportunity to pursue his sense of self.
On the professional side the contrasts constantly illumine the transformation of classical Indian dance within contemporary society. Kesha Raithatha presents the traditional form of Indian dance in a narrative work, Ashtapadi – Lalita Lavang, in kathak style with the delight and precision of her gesture, posture, rhythm and her storytelling eyes. Yet in the final work of the evening, Traces, Raithatha sets aside tradition to reveal a quite different dramatic presence, one that evolves out of a contemporary existential philosophy that demands its own expression. Traces is the result of a 2015 Choreogata commission from Akademi that allowed Raithatha to choose a choreographic mentor (Eva Recacha). Launching bravely into unfamiliar territory with no narrative and an aural environment of powerful prayer chant, a lot of silence and some recorded sounds, Traces is a journey in which Raithatha’s body becomes her eyes as she searches for expression within a fortress of her imagination. There are moments of great beauty and force in which her classical technique sustains her, but it is her choreographic approach and her innate sense of drama that takes her and Traces into exciting, uncharted territory.
Archana Ballal does not entirely leave behind her classical Indian training in As Small as a World and as Large as Alone, but she changes the context to a contemporary narrative on agoraphobia affecting a young woman planning to go on holiday. Using text and a contemporary musical context ‒ including a sultry Pharaoh’s Dance by Miles Davis ‒ Ballal represents herself as she is: a contemporary woman in a contemporary environment. She is dressed as she might be in her own flat, surrounded by a table with flowers in a vase, a couple of chairs, a suitcase and a wastepaper basket full of crumpled plans. She translates her text into gestures that avoid any literal relationship; they are a parallel physical expression with which she builds her dance. She spends a little too much time with the single idea of unpacking and repacking, losing the careful construction of the opening, but she finishes strongly where she began, with her indecision only delayed.
In Two by Two, choreo-grapher Hari Krishnan casts aside both the classical movement and the context. I am perhaps the only person not to have seen Vidya Patel in BBC Young Dancer 2015, so when I see her natural ability in Krishnan’s work alongside Jaina Modasia I wonder who this extraordinary young woman is. First you notice the commanding eyes, and then she begins to move. Krishnan’s use of the thrust and parry gestures of a boxing match is a beautiful example of Patel’s flow extruded through a lyrical body, though it is also apparent in her effortless opening jumps. Krishnan’s vehicle is a witty and rhythmical abstraction of episodes that seem to wander in and out of classical dance with a sly and knowing grin. Modasia is a perfect foil for Patel, creating a harmony between the two that makes them and the choreography look as refreshing as a choreographic…vacation.