Many existing dance forms have long strived to achieve heightened levels of expression and communication. For some, cultural potency and effective intellectuality may serve as the basis of a dance creation.
Such a profound perception is what Indian classical dance specialist Mavin Khoo brought to the performing stage on June 21 at Action Base Studio, Buskett.
Sophisticated and awe-inspiring, Khoo’s interpretation of Abhinaja – a genre of dance theatre specific to improvisational performance within Indian classical dance – was essentially an invitation in understanding the subtext of poetry through dance.
Performed as part of the International Festival of the Arts, the evening was an overwhelming experience for both performers and audiences. Together with percussionist Bhavani Shankar and vocalist Pushkala Gopal, this chamber dance performance was certainly one to remember.
From the onset, it was clear that the audience was about to experience an unusual type of performance. An outdoor candlelit scene and the soothing sounds of Carnatic music provided a perfect esoteric setting, inevitably drawing us into this spiritual world of South India.
Luckily enough, those watching on the night were given an insight into the artistic traits of Abhinaja thanks to Khoo’s frequent verbal interjections and explanations. In fact, we would not have understood the notions of the genre had it not been for Khoo’s generous way of making it more accessible to us.
Literally meaning ‘the art of expression’, Abhinaja stands out from any other dance forms in that it seeks to disengage from the specificity of movement. It did, in fact, appear to be free from any rigidity, its nature purely improvisatory where the text serves as the groundwork for the choreography.
The dancing is merely presented through mime, upper body movement and effective facial expressions to mimic the characters’ emotions. All four dances performed on the night were based on 12th and 18th century poems which were recited through chant.
Interestingly, the texts dealt with morals and philosophies which still thrive in today’s society.
Concepts of love, the human, the erotic and God were among those highlighted in ways which proved to be mentally and physically challenging for this trio of performers. A strong synergy is what emerged among the three as they brought the narrative alive through their insistent communication.
For the two musicians, it was a musically sensitive performance where the understanding of the text determined the shaping of the music.
As the chanting progressed, Khoo was able to create a series of codified movements to support these poems.
One had to carefully follow every movement exhibited by Khoo as he captivated the protagonists’ thoughts in a remarkably peculiar manner. From graceful hand gestures to eccentric ways of using the eyes expressively, Khoo created what seemed to be a more conscious perception of movement.
Physically, the discipline of Abhinaja requires the dancer to focus on the centre of the body ultimately stimulating an inner energy. It is the spiritual link which then gives the dance form its individuality and complexity.
The dance is not the virtuousic type but virtuousity is found and expressed through the stillness of the body and mind. And how effectively powerful indeed were the many moments of stillness executed by all three performers.
One had to be there to experience this mystical aura created, especially when the lights went out towards the end of the final dance number.
Hardly a drawback at all, as the darkness surrounding the candlelit platform provided an even more sublime setting coupled with a refined artistry from all three.