Bangalore’s Attakkalari Repertory Company presented Isshh(क), choreographed by Swiss choreographer Nicole Seiler, on the closing day of the Attakkalari India Biennial 2017. Photographer Darshan Manakkal brings us the action from the Centre Stage.
During the Attakkalari India Biennial 2017, within the Writing on Dance Laboratory, we had several conversations about dance—its making, its reception, its impact, its sensations, its politics. Watching every performance at the festival, and attending conferences, screenings, and other festival events, the Lab participants received a broad view of festival happenings. That holistic perspective and those many conversations are reflected in Ligament’s final issue on the Attakkalari India Biennial 2017. Through the each of the participants’ different experiences of different events, we are left with pertinent questions about dance that might be worth considering after the festival has ended, through all the dance we watch in days to come. Why do we watch dance? Why should we write on dance? Are there many ways to write? And when dance makes us feel something, anything, what questions do we ask of it?
— Poorna Swami, Editor
Dancer and writer Dayita Nereyeth broadly traces the choreographic legacy of Igor Stravinsky’s The Rite of Spring and her relationship with it
Dance writer and producer Ian Abbott considers the edges of touch, authenticity, and repetition in two performances
Dance and writer Parvathi Ramanathan looks at the individual and the ensemble in contemporary dance practice
Playwright, theatre director, and performer Swar Thounaojam looks at the optics around women choreographers in contemporary dance through Centre Stage performances and a conference at the Biennial 2017
Dance researcher and PhD student Himalaya Gohel examines two works to investigate our notions of melody, music, and movement in contemporary dance
Dancers Revé Terborg, Audrey Apers and Ivan Ugrin from The Netherlands presented While We Strive, choreographed by Arno Schuitemaker, on Day 8 of the Attakkalari India Biennial 2017
Finnish choreographer-performer Ima Iduozee presented This is the Title on Day 8 of the Attakkalari India Biennial 2017
Finland’s Tero Saarinen Company presented Westward Ho!, choreographed by Tero Saarinen, on Day 8 of the Attakkalari India Biennial 2017
Finland’s Tero Saarinen presented Man In A Room on Day 8 of the Attakkalari India Biennial 2017
Chennai-based choreographer Preethi Athreya and the Jumpers presented Conditions Of Carriage on the closing day of the Attakkalari India Biennial 2017
Bangalore’s Attakkalari Repertory Company presented Isshh(क), choreographed by Swiss choreographer Nicole Seiler, on the closing day of the Attakkalari India Biennial 2017
To pick up and run with a magazine that has had another life is never easy. There are those conflicting desires to find close continuity and to just scrap it all and start anew. Ligament 2016-17 reemerges from a half-way point. We want to build on the investigations and insights of the magazine’s past contributors and also find ways to say what they perhaps had wanted to say but could not, or forgot to, in that moment.
Ligament was founded to facilitate the articulation of an evolving language that encompasses the impulses of contemporary dance. The idea of “contemporary” is inherently bound to time, to a sense of history, rather multiple histories unfolding. In its 2016-17 iteration, we hope that Ligament can grapple with the idea of how dance might hold a place in-step with the patterns of active and forming histories, rather than remaining a canonised and pondered response to a bygone world. We’d like to embrace the immediacy of “contemporary”, and invite contributions from dancers, choreographers, arts practitioners, scholars, audience members, readers. In this way, we hope to reach for the intimacies, resistances, and fragilities that permeate the developing field of South Asian contemporary dance.
Articulating a medium as visceral, visual, and ephemeral as dance requires making connections to methods of thought and critique that lie outside evaluative language. So for Ligament 2016-17 we welcome, of course, the critical essay, but also audio, photographs, ekphrastic poems, interviews, and hybrid media of various kinds that might speak to us about dance, carefully and proximately. Like the anatomical connective tissue for which it is named, Ligament, we hope, can help us locate dance in tandem with the many bodies that produce and encapsulate it.
To those who find themselves here for the first time, welcome. And those whom we have met before, we are glad you are back.
—Poorna Swami, Editor
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