DANCE MARATHON JOURNAL #2
22 August, 8pm
23 August, 3pm
3h, with two intermissions
WALL DANCING’S two performances on 22 and 23 August are SOLD OUT!
We encourage those interested to watch the performance to turn up at 72–13 for the possibility of returns.
As the shows are sold out and for your comfort and ease of movement, we request that audiences come dressed comfortably.
Audiences are also advised to check-in their bags and footwear at the designated check-in facility before entering the performance space.
Our Festival Ambassadors and Front-of-House staff will be available to assist you and ensure safekeeping of belongings.
Image courtesy of Sara
PADMINI CHETTUR began her training in the traditional Indian dance form of Bharatanatyam. From 1991 to 2001, she worked with choreographer Chandralekha. Her own artistic research began in 1994. Chettur departs from the classical repertoire of gestures, posturing and mythical tales to shape an alternative mode and manner of dance – one that is no less strict, but very condensed. Looking for complete detachment from her formative years spent in studying classical dance, she resists the temptation to seduce, choosing instead to convince. Her visionary work takes India’s contemporary dance from what it is and how it should look to radical dimensions.
Image courtesy of Padmini Chettur
PADMINI CHETTUR RESPONDS TO IKUYO KURODA’S ARCHIVE BOX
What were your initial thoughts on first receiving your corresponding Archive Box?
The part of the Archive Box that I first opened was the urn. Though I was expecting it, the urn came to me as a strong memory of death. It almost prevented me from wanting to open the rest of the Archive Box. So, in a sense, my initial response was negative. Since then, I have been trying to spend more time with the text itself and not the urn.
From what you saw of the Archive Box, could you imagine what the ‘original’ dance was like? Have you seen the dance?
Yes, I have seen the dance as the DVD of the performance itself was in the Archive Box, so there was no moment for me to imagine. Though I think if I did only have to rely on imagination, the dance would perhaps be very different.
How have you prepared for the response presentation?
The process has taken me through various stages. My earliest response was almost a critique of the performance itself – me trying to make further connections between the Archive Box and the actual first dance. This process actually took me to a very interesting space, because it made me realise that I come from a very different world of dance from the archivist-choreographer and I wanted to somehow address these notions of what is dance itself, for both myself and the archivist-choreographer. At another level, I tried to address the Archive Box material, especially the written text, and to respond to it through movement that would somehow bring me closer to what dance can actually mean and how word translates into movement. As a third layer, there was a moment when I started to look at the archival processes of other choreographers – people whom I worked with, people whose work I was looking at in museums.
How do you archive your work as a dancer and choreographer?
At the moment, I don’t think of archiving my work; I think only of documenting. The minute I start to think of the need to archive, I see my work as dead in a way, and no longer a living work. Therefore, I feel the business of archiving is something I would prefer to do much later in my career and preferably to have it done by somebody else.
How has working on this Archive Box project affected your notions of archival?
The project has asked me to think about archiving processes of other artists; some of this information will also eventually become part of my response presentation.