(Most of the choreography is by Shivalingappa, except for the opening sun worship, by Master Vempati Chinna Satyam, and a dance inspired by the god Ganesha by Kishore Mosalikanti.) Landing on plié - ouch! - or ending the evening simply spinning lyrically, back and head hunched, in a small circle - she is feather light.īut what stands out in “Shiva Ganga” is the mutual respect and relationship between music and dance. This also turns out to be the case in the Paris premiere of “Shiva Ganga,” an evening of choreography in the Kuchipudi school or style, accompanied by live music. In addition to the precision and articulation in her fingers, which we know from other Indian forms, Shivalingappa added - in her Tanztheater Wuppertal appearance - flight. I made an exception in the case of Shivalingappa because she had knocked my socks off in Pina Bausch’s “Nefes” (“Breath”). I am but a pauper babbling feeble prayers at their temple. I’d been avoiding concerts in the traditional Indian mode, not because they aren’t my cup of tea (especially if it’s chai tea!) but because I don’t feel my training as a critic matches these artists’ training in the various forms that come from that country. In between there was Shantala Shivalingappa at the Theatre de la Ville aux Abbesses, an Indian dancer in the Kuchipudi mode intent on giving thanks for the simple blessings still ours for the asking even as the world hovers on the precipice. PARIS - I don’t know about your Tuesday night, but mine started with the Belgian man from Gent singing from the piano inside his open van on the Place des Abbesses in the heart of Montmartre and ended with a coked-up man from who know’s where chasing me down a dark street above the Moulin Rouge to the upper reaches of the rue des Martyrs (tracing the route Van Gogh once took to hawk his “Potato Peelers” to the Goupil Gallery on the Grands Boulevards), where I began to feel like one.
Today’s re-publication is sponsored by Freespace Dance. To read about another Indian choreographer, the late Ranjabati Sircar, more in the traditional – contemporary veine - click here. Typical of that programming was this concert by the virtuosa Shantala Shivalingappa (and friends), first reviewed on the DI on October 28, 2004. (A commitment to world dance that has since been replaced at the theatre Violette lead or co-lead for 40 years by the self-hating aesthetic of the Centre National de la Danse which Violette’s successor relies on for his dance programming, and which leaves little room for authentic, non-ironic world forms, notably from the Indian sub-continent and Spain.) Sol Hurok had nothing on Gerard Violette.
FebruMadanceblogger Aesthetic Theory, Art Criticism, art critics, Centre National de la Danse, Centre National de la Danse Pantin, Critical Theory, critics, Dance, Dance and Danse, Dance Criticism, Dance Critics, Dance from India, Dance in France, Dance Insider, Dance Insider Archive, Dance Insider Magazine, Dance Journalism, dance magazine, dance magazines, Dance Photography, Dance Reviews, Dance Scholarship, Dancers, Danse, Flash Reviews in French & English, French dance magazines, French dance scene, Gerard Violette, Gerard Violette Theatre de la Ville, Indian choreographers, Indian Dance, International dance magazines, Kuchipudi, Paris-based art magazine, Paris-based art magazines, Paris-based Dance Magazine, Paul Ben-Itzak, Ranja Sircar, Ranjabati Sircar, Shantala Shivalingappa, The Arts Voyager, The Arts Voyager magazine, The Dance Insider, The Dance Insider Magazine, Theatre de la Ville, Theatre de la Ville Paris, Uncategorized Slaves to the Rhythm: Kuchipudi KultureĪmong the many losses the Paris dance scene suffered with the departure and then death of Gerard Violette was the long-time Theatre de la Ville – Sarah Bernhardt director’s commitment to a multitude of Indian (and Pakistani) forms of music and dance.
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