Theory Assignment 2: Burt, Meduri and 29 Subversive Gestures

Here is our reading assignment #2, due on December 20!

1. All read Avanthi Meduri's “Multiple Pleasures: Improvisation in Bharatanatyam” and Ramsay Burt’s “The Performance of Unmarked Masculinity.”

2. Write short response papers: Sandra will concentrate on interpreting 29 Subversive Gestures through these theoretical lenses, while Cyn and Shy can also consider autobiographical more heavily.    

3. Each come up with a few ideas about a choreographic assignment.   

Response to Choreography Assignment 1: Gender Morphing and 29 Subversive Gestures

Here are 4 little video studies 1-2 min each and some comments about things we discovered while in the process.

The passwords for all are: "loop"

1. Take a section of the existing kathak sequence and slowly morph it on a gender spectrum from ultra-femme to super butch.

Feminine sequence:
Fem phrase from Shyamala Moorty on Vimeo.

Femme to butch:
Femme to Butch from Shyamala Moorty on Vimeo.

2. create a  series of masculine gestures (approx same number/length as part 1) in classical Kathak (If need, may also make non Kathak gestures influenced by rules of masculinity as noted by Gere on p. 351, 365 and Shah on p 4.)

Masculine sequence:
Masc sequenc from Shyamala Moorty on Vimeo.

3. Switch back and forth between the feminine and masculine gestures in part 1 and 2. Try different transitions: once "blurring" the transition, another time making it fluid, and once emphasizing the rupture between the two characters.

Gender Morphing Sequence:
  fem to mas sequence from Shyamala Moorty on Vimeo.

FEEDBACK QUESTIONS
1. Babli noted in her theory assignment 1 response that 29 Effeminate Gestures works from a "single-mindedness" whereas 29 Subversive Gestures works from multiple/fluid positions. How do our new explorations deal with the idea of multiplicity vs. singularity of positions? Is the multiplicity or singularity confusing or effective?
2. Do these explorations deal with abhinaya as methodology or as signifier of Indian-ness, and how? 3. Compare and contrast these explorations with our previous Highways draft.
4. Note moments that you find satisfying or pleasurable. Note moments that you find confusing or boring.
5. Any other thoughts?

NOTE: CYN AND SHY WILL POST REFLECTIONS ON OUR PROCESS

Choreographic Assignment 1: 29 Subversive Gestures

This is a combination of a suggested assignment from each of us and thus is in 3 parts.

1. Take a section of the existing kathak sequence and slowly morph it on a gender spectrum from ultra-femme to super butch.

2. create a  series of masculine gestures (approx same number/length as part 1) in classical Kathak (If need, may also make non Kathak gestures influenced by rules of masculinity as noted by Gere on p. 351, 365 and Shah on p 4.)

3. Switch back and forth between the feminine and masculine gestures in part 1 and 2. Try different transitions: once "blurring" the transition, another time making it fluid, and once emphasizing the rupture between the two characters.

While parts 1 and 2 lead to part 3, each part should be videoed separately for feedback as any of the three parts may be fodder for further developments of the piece. 

Cyber Manifesto Rough Draft

Guest Editor Prumsodun Ok has worked hard to put together this draft after many challenges of un-matching frame rates, stolen computers, scheduling etc. But it's all coming together now!

Please give any feedback by next Tuesday the 11th as he will be working on it again Wednesday morning LA time.  He is planning to layer different video footage into the ending section of yeses after Babli's solo, and make a few other refinements.  Otherwise things are getting close and it would be great to get feedback in these final stages! 

Password: manifesto
Cyber Manifesto Rough Draft from Shyamala Moorty on Vimeo.

Theory Assignment 1: Gere, Shah, and 29 Subversive Gestures

Here's our next assignment: due December 3!  

1. All read David Gere's “29 Effeminate Gestures: Choreographer Joe Goode and the Heroism of Effeminacy” and Purnima Shah's “Transcending Gender in the Performance of Kathak."

2. Give feedback through theoretical lens: Sandra will concentrate on the work itself, Cyn and Shy can also consider autobiographical more heavily.    

3. Each come up with a few ideas about a choreographic assignment.