FOR THE first time contemporary dance in India is being celebrated through an exclusive award instituted by Chennai-based Prakriti Foundation. Designed to spot and recognise talent, Prakriti Excellence in Contemporary Dance Awards (PECDA) debuts in Chennai on 25 and 26 August at the Museum Theatre. Eleven dancers from across India will present their work in progress. Ranvir Shah, founder of PECDA, tells Akhila Krishnamurthy why contemporary dance cannot be left isolated on our cultural landscape.
EDITED EXCERPTS FROM AN INTERVIEW
How long has PECDA been brewing in your head?
I’ve been thinking of the possibility of an award in contemporary dance for three years now. Last year, Karthika Nair, a poet and dance producer based in Paris, helped me structure my thoughts. From a dancer’s perspective, PECDA is a platform for the three essential Ms: money, mentoring and markets.
Can you explain PECDA’s mentoring and marketing aspects?
Contemporary dancers, more often than not, work in isolation. Money aside, it is imperative that collaborations happen. In PECDA, the idea, for the mentor, is to gently engage with the dancer/group and nurture areas that need mentoring. It could be anything — dramaturgy, design, costume, lighting, sound, etc. This year, we are privileged to work with the Akram Khan Dance Company from London. As for the markets, the idea is to present the final work at The Park’s New Festival (an annual festival curated by Prakriti that travels to six cities in India).
As an award that pits one work against the other, isn’t it bound to ruffle a few feathers?
Of course. Some dancers believe that art is not meant to compete. While the argument is valid, it’s time we realised the community is waiting for support. As a cultural organisation, we need to do what it takes to fill that gap.
There are only a handful of participants in this space; how is PECDA relevant?
PECDA attempts to discuss India of the now. New India is a global local; it’s an India that is experimenting in different ways. I believe contemporary dancers are integral to New India. It’s important not to get stuck in the Margam (classical repertoire) scheme of things. I think dancers who are creating contemporary work, whose content varies from corruption to politics to pollution to urban paradoxes, are relevant in creating a new vocabulary.
Do you think the visual landscape of contemporary dance has changed over the years?
Contemporary dance in India is definitely becoming more exciting and layered. It is a small group, but within that community interesting work is happening. We also need to ask ourselves what contemporary dance really is. Any work that is of the now is contemporary. We want to identify work that will bring alive the persona of the performer along with his/her creative integrity in the execution of the craft.
This year, the New Festival will open with Akram Khan Dance Company. Can you describe the work?
Akram Khan will present Gnosis (the work will premiere in India), a creation where he combines his classical Indian and contemporary dance roots. Inspired by the story of Gandhari, it explores the notion of inner knowledge and clouded vision, seeing darkness and yet being blind to light.
How important do you think is culture to contemporary society?
Culture, I’m convinced, is a marker of identity. If you don’t engage with it, you’ll never really know who you are. The arts allow us to be moved, provoked, to think and reignite our imagination. It is the fuel for inner, and then outer change.