Thursday 3 March 2022

Prism - Postmodern meets Pre-Dravidian - Marc-Paul Lambert

It is remarkable to see how, some fifty years after Paris, the term "contemporary dance" settled in hotspots like Mumbai or Chennai2, breaking with semantics of Indian classical legacy. A catchy mood at first, it seems dancing contemporary could propel new choreographies everywhere on the planet, in original formats, although something déjà vu reminds us too of the legendary times of French Bagnolet "contests" (Chopinot, Découflé) - be it their bold manners; dancers shaking codes with irony, and their attraction to use space as on a playground (Galotta). Observing today how the dance scene evolved from a large perspective, the change "dancing contemporary" has brought to the embodiment of global models reveals to be far from being frivolous.

Like a god creator, the artist decides either to pick up the movement material from the abstract, inventing coordinated phrases coming out of nowhere. He (or she) might ask the team to develop on found movements during improvisations. Creating a new feeling by moving adequately is not easy, but it should happen. It supposes you are altering although not intentionally, the audience's overall perception of the event, busy with collecting muscular and senses analogies. Spectators are figuring out on stage the plausible meanings conveyed by gestures between all parts.

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