After discussing the three studies in the last post, we felt the Padam was the most incomplete and needed to be explored before writing about them all. So here is a competed draft of the Padam.
The assignment again was to create a critical, gender-subverting padam that uses repeating lines of poetic text and abhinaya. Incorporate non-Indian, autobiographical material.
Not Enough Padam Complete Draft from Shyamala Moorty on Vimeo.
password: loop
Feedback Questions:
1. What parts are the most interesting to you and why?
2. What parts do you lose attention and why?
3. What do you feel about the relationship of the text to the movement?
4. What music, if any, could you imagine with the piece? Are there ways the existing text could become more musical?
5. Comment on the relation between autobiography and abhinaya in the work. How is each mobilized? How are the boundaries of each tested, expanded, or broken, if at all?
6. Track the performance of gender throughout the work. You might look at how the physical movement (angika), the costumes (aharya), the text (vachika) shift and change. I'm also curious what gender the "beloved" reads as. Do you assume it is a woman or man? Does your understanding shift throughout the piece?
7. Comment particularly on the costuming and costume changes -- sequence, timing, and performance. Are there any changes you would suggest? Parts that work particularly well?
8. Title ideas?
The assignment again was to create a critical, gender-subverting padam that uses repeating lines of poetic text and abhinaya. Incorporate non-Indian, autobiographical material.
Not Enough Padam Complete Draft from Shyamala Moorty on Vimeo.
password: loop
Feedback Questions:
1. What parts are the most interesting to you and why?
2. What parts do you lose attention and why?
3. What do you feel about the relationship of the text to the movement?
4. What music, if any, could you imagine with the piece? Are there ways the existing text could become more musical?
5. Comment on the relation between autobiography and abhinaya in the work. How is each mobilized? How are the boundaries of each tested, expanded, or broken, if at all?
6. Track the performance of gender throughout the work. You might look at how the physical movement (angika), the costumes (aharya), the text (vachika) shift and change. I'm also curious what gender the "beloved" reads as. Do you assume it is a woman or man? Does your understanding shift throughout the piece?
7. Comment particularly on the costuming and costume changes -- sequence, timing, and performance. Are there any changes you would suggest? Parts that work particularly well?
8. Title ideas?
