David Bower gives an evocative account of Signdance's trip to India in India 2009 / 10 February 2009
The tired hot sun rose wearily over the horizon, as we meandered our way from the airport down recently well heeled motorways into Bangalore. Pass the night time fires. Mingling into the dawn rush hour traffic of wagons, carts, tripod taxis and cars, all ducking and weaving like Shiva's dance of life.
Shushing into ever the increasing quietude, pass carnivalesque' Krishna temples, Bangalore receded into the east as we rose up into the Deccan hills through ancient villages, exuding an ineffable air of long forgotten loving peace. Bangalore has recently started to experience something of seed change into something rich and strange, a two headed hydra, a new breed of gritty urban money warriors surveying its quarry with pseudo Zen calm.
A second state of siege, a post modern micro-chip colonization, manifesting like fungus in the form of picket fenced suburban Americana, a new Berlin wall, dividing the city, into a Mac-Donaldised Disney theme park, while the rest look on with dumbstruck awe.
Was the fall-out from the collapse of Rome like this, a diaspora of failed and frustrated Californian silicon emperors, here in the land of hallowed Yogi footprints, yes, Starbucks has finally arrived. The winds of neo-capitalist fundamentalism is fanning the flames of resentment, the two locking horns in an ignorant battle that horrifies the rest of us and inexorably drives the peace loving people into a new age of the dark.
Infinite souls artists retreat is just after one those peaceful villages, further down the lane and off the beaten track, nestled below the largest boulder in Asia. Its a ginormous monolithic rock that looks a bit like a scone. It was probably spat out by one of those huge Deccan pyroclastic volcanoes that occurred over sixty million years ago, during the Paleocene epoch, not so long after the dinosaurs, or marooned by the unimaginably slow retreating tide of erosion.
The volcanoes, however are considered to have been the largest and most furious ever in the history of the planet. They were active during India's time as an island before it was destined to crash into Asia and in turn create the Himalayas. This dramatic geological past is evidenced where ever I look, its in the red earth and the sun baked boulders teetering on tiptoes, balanced on the ridges of the hills around.
The retreat has been established by a Bangalore based combined arts theatre company called the Little Jasmine Company, it aims to be as self-sufficient as possible, harvesting water from the monsoons, power from the sun, it even has a Banana grove. Looking for all the world like an Essene garden cultivated by the desert fathers, a splash of green in the red brown hills.
The one draw back is that occasionally, all the villagers have to pool together to fend off the elephants who attempt to make a banquet of it all. From the outdoor studio where I'm rehearsing I can see the semi-arid valley retracting off into a hazy rocky landscape, I keep mistaking the boulders for a herd of elephants gently swaying into view.
We are rehearsing 'Dances for a Lost Traveller'. It comprises of four different pieces, the first is called 'Here', a sign dance piece about a relationship in flux, the second is called 'Listen', a journey into the landscape of Tinnitus, the third piece is called 'The Words', exploring the strange paradoxical tendency that language has in divorcing us from reality and impairing the longevity of stories, and the fourth is a madcap screw ball sign dance theatre piece about artists travelling in an increasingly compromising world of over-wrought sensitivity.
Isolte Avrila the choreographer has invited Little Jasmine to look at furthering the dramaturgical structure of 'Listen', and to help us explore ways to present the musical elements and the dance theatre elements into a seamless dynamic. Each moment in a production is a frame, and each frame has a dynamic perspective fused with layers of meaning. The slightest deviation from this picture alters the meaning of the story.
To dramaturg a piece (as Kirtana Kumar and Konarak Reddy are helping to do for us), is to create a map, a point of reference that enables the audience to know precisely where to focus, if that focus is pulled, the story is fragmented. Its not so much what you say on stage, its also what you don't say, whether its verbal, physical, choreographic, filmic or musical.
The various disciplines and techniques that we utilise to present a piece, has to cohere together in such a manner that every component is targeted towards the 'eye' of the story. Its interesting to consider the parallels with meditation.
In Hinduism people often talk of the 'Monkey Mind'. This means, as a simile, that the mind is often given to wandering, thoughts loop round repetitively, or turn to past issues that still vex us. But if the monkey in the mind stills, and focus attends to breathing, the mind clears and in theory we begin to focus on the 'eye' of what's happening.
Kirtana and Konarak are both the artistic directors of Little Jasmine and founders of the retreat. We are also here to further develop our collective structure and to increase an awareness of each others art forms.
The studio itself is piece of art, it is an outdoor room with a palm thatched roof, the floor is made with a mixture of mud and concrete and bears a striking resemblance to the finest quality slate, the space is surrounded by a cuduppah stone lintel (also bearing a resemblance to slate), that serves as a bench.
The whole effect to my imagination reminds me of a very well turned out welsh mountain hut where some of my family worked in Llanberis back in the day. The process is very constructive, challenging and it promises to yield some significant breakthroughs in the evolution of all Sign Dance Collective's repertoire and otherwise.
Soon we will be taking off from the retreat to do a mini-tour of 'Dances for a Lost Traveller' throughout the region of Karnataka and then finishing at its capital, Bangalore, to perform at the 'Ranga Shankara Theatre'.
At the end of the day, the sun drifted down the wilderness, the boulder beneath me, pulsated with the heat of the sun, and it felt as if though, in fact I'm pretty sure, it was breathing and levitating, Richard Dawkins should have been there, he probably would have said I was deluded, but I don't care, its better than a river of discarded computers.
All this would not have been possible without the support of Arts Council England South East, Disability Arts on-line, Vicky Heathcock and the band, Little Jasmine, Gerdinand Wagenaar, and Isolte Avilla's tireless efforts. Please look in again for some more on this one, meantime big love, David.