Tuesday, November 30, 2010

brainstorm: some imagined courtesan scenes

While in Delhi together to perform for the IGNITE festival, Sandra and I had some late night addas where we brainstormed ideas for some scenes to add to our show. Here are some of them:  

BEHIND THE SCENES (a women only space): What happens when the courtesans aren't performing? Stage a behind-the-scenes conversation between the courtesans with some fun characters - a courtesan who actually doesn’t like sex, a nymphomaniac, a lesbian couple. Textually, this scene could incorporate women’s songs (there may be material in The Prostitute in 19th Cent. Bengal or the Oldenberg article). The graphic padam with the "aunt" who turns out to be Muvva Gopala from When God is a Customer might work too (see below). As for staging ideas: are we all offstage and you just hear us? Is it on video because we need 4 characters, but not all of us will be able to perform together live? Do we do another iteration of the SKYPE call but dressed up and in character (the lesbian couple could be in the same frame...)?  

LEARNING THE TRADE: What if we have a scene with a senior courtesan teaching a greenhorn (who’s really a lesbian)? The greenhorn can’t do it initially; the senior courtesan gives up; the lesbian courtesan volunteers to try to teach her, and suddenly it becomes very viscerally erotic.  

CYBER COURTESAN PHONE CENTER: One of us would sit at a desk at the computer, doing abhinaya into the webcam. The character would be very made up from torso up (perhaps it appears as if you’re naked?), but from the waist down, very frumpy in sweatpants. We see a live feed of the courtesan’s face doing abhinaya on the back wall. At the same time we see the real live body, and the lower body is doing something very mundane and non-sexual, like turning the pages of a newspaper with one's toes. We could have a series where the rest of us are doing chores, phone calls come in (we ask, "Hey, who’s made up?"), and then each goes to a different computer and our image pops up on the back wall. See Kate Rigg’s “Phone Sex” music as reference.

A Young Woman to a Friend (Ksetrayya)

Those women, they deceived me.
They told me he was a woman,
and now my heart is troubled
by what he did.

First I thought
she was my aunt and uncle's daughter,
so I bow to her, and she blesses me:
"You'll get married soon,
don't be bashful.  I will bring you
the man of your heart."

"Those firm little breasts of yours
will soon
grow round and full," she says.

And she fondles them
and scratches them
with the edge of her nail.

"Come eat with me," she says,
as she holds me close
and feeds me as at a wedding.

Those women, they told me he was a woman!

Then she announces:
"My husband is not in town.
Come home with me."
So I go and sleep in her bed.

After a while she says,
"I'm bored.  Let's play
a kissing game, shall we?
Too bad we're both women."

Then, as she sees me falling asleep,
off my guard,
she tries some
strange things on me.

Those women, they told me he was a woman!

She says, "I can't sleep.
Let's do what men do."
Thinking 'she' was a woman,
I get on top of him.

Then he doesn't let go:
he holds me so tight
he loses himself in me.

Wicked as ever, he declares:
"I am your Muvva Gopala!"
And he touches me expertly
and makes love to me.

Those women, they told me he was a woman!

-Ksettraya (Telugu), from When God is a Customer



Monday, November 29, 2010

Uma's padam, or Rewriting Ksettraya

In August 2010, Shyamala first posted her research with AWAZ, the South Asian Network's support group for survivors of domestic violence.  In her blog posting she detailed her interview with Uma who had spent over 30 years in an abusive marriage.  One poignant episode describes Uma's refusal to tell her husband that she loves him when he comes home, drunk, and demands that she profess her love.  This episode sparked the idea of rewriting a Ksettraya padam whose pallavi (refrain) is "I didn't say a word," capitalizing on the ambiguity of a woman's silence, which can be both passivity and resistance.  Here is a raw first attempt at the rewrite:

A Woman to Her Friend

Friend, I didn’t say a word.
It would be a shame
if others were to hear.

He came with a glisten of mascara
still on his lips.
When I said it hurt me,
he made a scene.

When my friends asked me
what had happened,
I laughed it off,
covered it up.

I didn’t say a word

He wasn’t afraid to come home
with the red lac from her feet
on his forehead.
Still, he had the nerve
to ask for a hug.

I was furious
but, hiding it,
I protested gently.
I said it wasn’t right.
He raised his voice and,
fearing where it might lead,
I gave in.

As in the saying
about the thorn and the banana leaf,
it’s always the leaf that gets torn.

I didn’t say a word

Friend, he came here
with her betel juice
staining his neck
breath sweet with whiskey heaviness
and asked me for a kiss.

Tell me how much you love me,
he said, smiling uncontrollably,
tell me how much.

I didn’t say a word.

Friend, he made love to me
the same as ever,
the thorn carelessly shredding the leaf,
the monsoon rain battering the earth.
And as I lay there unmoving,
the peacocks shrieking wildly

I didn’t say a word

-Ksetrayya, rewritten by Cynthia Ling Lee

Here is the original padam as reference:

A Woman to Her Friend

Friend, I didn’t say a word.
It would be a shame
if others were to hear.

He came with a glisten of mascara
still on his lips.
When I said it hurt me,
he made a scene.

When my friends asked me
what had happened,
I laughed it off,
covered it up.



I didn’t say a word


He wasn’t afraid to come home
with the red lac from her feet
on his forehead.
Still, he had the nerve
to ask for a hug.

I was furious
but, hiding it,
I protested gently.
I said it wasn’t right.
He raised his voice and,
fearing where it might lead,
I gave in.

As in the saying
about the thorn and the banana leaf,
it’s always the leaf that gets torn.
 



I didn’t say a word

Friend, he came here
with her betel juice
staining his neck
yet asked me for a kiss.
It seemed improper
to hurt a man
who had come to me.

But when he made love to me
as well as ever,
I felt obliged, and
 



I didn’t say a word


-Ksetrayya, from When God is a Customer, eds. and trans. A.K. Ramanujan, Velcheru Narayana Rao, and David Schulman.

FEEDBACK QUESTIONS:
(1) How might you imagine performing or otherwise staging this poem?
(2) How do you see this poem in relation to My Silent Cry, the choreography Shyamala created based on Uma's story?  Would it layer on top?  Immediately precede or follow the dance?  Go somewhere else altogether in the show, yet link to the story?
(3) Any feedback on the writing?
(4) Mythili Prakash once performed Maya Angelou's "Phenomenal Woman" in classical Bharatanatyam abhinaya, with the American poem translated into a South Indian language and sung Carnatic style.  I am  curious whether a similar strategy of "reverse" or "hidden" translation might be interesting here.  Thoughts? 

Thursday, November 25, 2010

A duet for one: dancing with virtual Sandra

Recently Sandra developed a new solo with video projection that was filmed outdoors in Munich.  The video projection intercuts footage of her dancing with academic theory about exoticism.  Sandra's solo was performed at the IGNITE! contemporary dance festival in Delhi and served as the opening section of "Tell Me, Sister" (see projection solo in progress), which I performed instead of Shyamala.

While in Delhi, Sandra and I discussed that it might be interesting to repeat her projection material throughout the course of the larger show, but with different performers doing the live dance.  So for this study I choreographed myself in relation to her, drawing on her original movement material.  For this version, I envision that rather than having the theory present, it might be nice for the sections of writing to be replaced by a simple white background.

password: "bier tent"

video: Sandra Chatterjee
live dance: Cynthia Ling Lee
direction: Shyamala Moorty

Feedback Questions:
(1) What do you see as being the relationship between myself and Sandra's projection?  How does the relationship evolve?
(2) How do you imagine that this version colors, shifts, and changes Sandra's original version?
(3) How do you think this material relates to other material from our process and to the larger show?
(4) What kind of sound/music do you think would support the piece?
(5) Is this compelling enough material to keep working on?  Suggestions for further development?

Wednesday, November 24, 2010

Tawaif, Interrupted, or, Theorizing the Courtesan

Since learning to perform "Tell Me, Sister," the story of the child widow who is abused by her in-laws and empowers herself by becoming a courtesan, I have been thinking about the piece's ending.  I would like to avoid romanticizing the figure of the courtesan as some sort of "proto-feminist."  Rather, I would like to recognize that she exercised her agency and power within the confines of a patriarchal structure.  I also feel that it is ultimately impossible as a contemporary woman and classically trained dancer to understand and grasp the historical courtesan in any sort of "pure" way, unmediated by society's myriad perceptions of her.

Thus I've been toying with the idea of undermining the courtesan at the height of her power by having Chakravarty's theory on how the courtesan is regarded in Indian cultural consciousness typed upon my face as I do sitting abhinaya.  This would occur during what was formerly the ending of Tell Me, Sister.  The image was inspired by one of the images from my artbook, Harassing the Sanskrit Heroine :

Shyamala and I tried this in rehearsal, and at first it seemed potentially interesting:

password "shyamalabai"

In addition, Sangita and I recently collaborated on reworking my dance-for-camera study, "skin," which uses the same theoretical text.  After reshooting it, Sangita did a beautiful job editing the footage into mysterious, organic imagery where Sumita Chakravarty's academic theory slips and melts on the not-quite-recognizable landscape of the female body.

I thought it might be interesting to transition from typing the theory on my face to a projection of "skin" that I would somehow interact with live.  However, we ran into some technical problems -- the two projections interrupt each other when the "skin" projection fills the back wall (which is why they are side by side here, rather than fading from one to another).  In addition, the typing on my face spills over to the back wall in a way I find distracting.  Here is rehearsal footage of this experiment:
password: "discursive"
Feedback Questions:
(1) Based on this footage, I'm thinking I may scrap the typing on my face altogether and instead transition straight from the sitting abhinaya into interacting with the projection on the back wall.  Do you think this is a good idea?
(2) Which movements are most effective with the video projection?  (I was just improvising ad hoc here.)
(3) What do you see as being the relationship between myself and the projection?
(4) How long do you stay interested in myself interacting with the projection?  Would you like to see less or more?
(5) Other thoughts/suggestions?

Saturday, November 20, 2010

"skin" - revised version

Here is a new and improved version of skin, which Sangita reshot and edited for me.  It had its first screening at gati's IGNITE contemporary dance festival!



skin (2010)
Concept, Choreography, Performance: Cynthia Lee
Director Photography/Editing: Sangita Shresthova
Text: Sumita Chakravarty's National Identity in Indian Popular Cinema, 1947-1987
Music Composition: Loren Nerell
Production Support: Carol McDowell



FEEDBACK QUESTIONS:
(1) How does the piece make you feel -- viscerally, emotionally, intellectually?
(2) Any thoughts about how to integrate into the live performance?
(3) Other thoughts?

Tell Me, Sister! Projection November 2010 (Babli)

In preparation for our presentation during IGNITE! Festival in New Delhi, I revisited the idea of exotification. I also drew on one of Anjali's early assignments working with a Varnam
Here is a link to the assignment itself

My intention was basically to create a dialogue between engaging with abhinaya and thoughts around "the exotic" which come from my contemporary reality of encountering an exotifying gaze while presenting classical dance on the (diasporic) stage.

These are a few ideas I played with for a projection. During IGNITE, this was projected onto the back wall from a projector placed in the aisle. A stark black shadow was created by my body moving with the projection. However since I was dressed in white, the projected image- while disrupted by my body- was still visible (distorted) on my white costume.

Password: tell me babli

Tell Me Sister Projection Babli, November 2010 from Sandra Chatterjee on Vimeo.



Here are the two versions without the text that I worked with:

tell me sister babli intro 2 from Sandra Chatterjee on Vimeo.


password: tell me babli 2

Tell Me, Sister, Babli intro draft 1 from Sandra Chatterjee on Vimeo.


password: tell me babli 1