Tanveer Alam and Barkha Patel performing Shanaasai | Photo by Vignesh P & The Royal Ballet performing Balanchine Symphony in C | Photo by Foteini-Christofilopoulou
Two distinctive dance disciplines, culturally informed and with plenty of historical context in tow, come together in conversation for KATHAK & BALLET: Signature Programme 3. Presented by Fall for Dance North and TO Live, this program celebrates classical forms and invites us to compare and contrast. Both kathak and ballet are known for their masterful footwork, gesturing and spins.
The western tradition is represented here by The Royal Ballet (UK); the eastern tradition by India’s Nad-Roop Company, Dheerendra Tiwari and Tanveer Alam—all with live musical accompaniment. It is indeed a privilege to witness some of the finest practitioners of these forms. The gestalt of the presentation has been well-curated to feel like the cultural conversation mentioned above, with a considered blend of solos, duets and a final ensemble piece closing it out.
Tanveer Alam’s Haazri (meaning Presence in Urdu) is an forceful and dynamic opening act. Choreographed and performed by Alam, this piece offers an exhilarating experience of the kathak form. Alam performs again in a duet with Barkha Patel—another piece he choreographed called Shanaasai • شناسائی (meaning familiarity in Persian). In addition to the technical brilliance, this is also an intimate and sensual piece, a contemplation of two bodies growing familiar with each other.
Dheerenda Tiwari’s SHIVO-AHAM—AN ODE TO THE SOUL is the most meditative of the kathak entries here. This solo piece, with concept and choreography by Amalia Tziotis and Guru Pt. Rajendra Gangani (respectively), feels decidedly introspective in its intricate and fierce gesturing and footwork. Tiwari seems genuinely to be exploring questions of existence, questions best articulated through body and music, rather than words.
Dancer Melissa Hamilton, accompanied by cello and piana, performs choreography by Mikhail Fokine. The Dying Swan is not Swan Lake, but you can’t help but draw comparison here to such a prominent part of the classical ballet repertoire. The finale in particular is quietly heartbreaking, as her body collapses upon itself in final, everlasting repose.
Hamilton also appears with Ryoichi Hirano in my favourite of the Royal Ballet contributions: Winter Dreams. Originally choreographed by Kenneth MacMilan in 1991, it is inspired by a moment from Chekov’s Three Sisters—the farewell between Masha and the soldier Vershinin. This is the most overtly representational offering, with Peter Farmer’s costuming designed to evoke a specific sense of time and place. The piece also contains humour in the melodrama of the scenario as well as some really lovely use of the military jacket prop.
Nad Roop performing Chaturang Ki Chaupal | Photo by Kaustubh Atre
Finally, after an intermission, India’s Nad-Roop company presents Chaturang ki Chaupal, the longest presentation (at 25 minutes) and featuring the largest ensemble of dancers—Kétaki Shah, Shraddha Mukhadé, Shréya Kulkarni, Prachiti Bhavé and Nayan Kohalé. Shama Bhaté has choreographed this to reference the ancient game of dice known as Chaupal. Their movements are guided by four melodic frameworks from the Hindustani classical repertoire, known as ragas. The tiered platforms on which the dancers interact in unison adds a striking visual dynamic. The contrast between the burgundy and chartreuse of Sheetal Oak’s costuming adds significant richness to the aesthetic of this most explicitly playful entry.
