Bangalore’s Attakkalari Repertory Company presented Bhinna Vinyasa, choreographed by Jayachandran Palazhy, on Day 4 of the Attakkalari India Biennial 2017. Photographer Darshan Manakkal brings us the action from the Centre Stage.
As the Attakkalari India Biennial 2017 comes to a close, participants in the Writing on Dance Laboratory show us the festival in their words and images.
Playwright, theatre director, and performer Swar Thounaojam finds the Polish dance company’s trio work just bold and beautiful
Dayita Nereyeth and Ian Abbott take a collaborative stab at Time Takes The Times Time Takes choreographed by Guy Nader | Maria Campos to offer a fuller perspective on the work
Dancer and writer Parvathi Ramanathan reads through Fabien Prioville’s La Suite
Dancer and writer Dayita Nereyeth gets the festival team dancing
Dance writer and producer Ian Abbott chronicles the origin and execution of an interview with ‘silence designer’ Marcel Zaes
Dancer and writer Dayita Nereyeth reflects on this Bangalore choreographer and dancer’s latest work-in-progress solo
Dance researcher and PhD student Himalaya Gohel examines two works at the Biennial to talk of the audience’s role in the reception of each of them
Actor and writer Sheetala Bhat analyses the relationship between performer, audience, and time through Mandeep Raikhy’s Queen-size
Bangalore’s Attakkalari Repertory Company presented Bhinna Vinyasa, choreographed by Jayachandran Palazhy, on Day 4 of the Attakkalari India Biennial 2017
Spanish choreographers MC Guy Nader and Maria Campos presented Time Takes The Time Time Takes on Day 5 of the Attakkalari India Biennial 2017
Italian choreographer-dancer Luisa Cortesi and music artist
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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