[Reeshu]

First of all, the performance of Alcheminement showed me how a traditional dance style could be choreographed in a different way such as this. I feel so lucky to be a part of Kala Bharati and to, not only enjoy performances like this, but also to have someone like Mamata aunty who has done so much incredible work for the dance form.

After reading Nandita didi’s post, there were a few things pertaining to how choreography should be done that really interested me.

Translating the complex into simple ideas, for example, was something I never thought about. I realized that this also leads to having the basic ideas so the choreography can be related to in all cultures and traditions. Perhaps, also the fact that this is a ‘less’ traditional piece helps the audience could associate the ideas to their own culture.

It was also said that the choreography should look into what and what not to say, and how to use the appropriate movements to show a particular idea. Thinking back Nandita didi’s performance, I could not think of any better way the concepts and ideas could have been portrayed.

The rhythm system used in the music set a dark mood to the piece and the whole presentation held the audience’s attention from the very start to the end. I was amazed to see this wonderful choreography and look forward to see the rest!

Congratulations on this wonderful accomplishment!
-reesha-

[nandita]

Hello dear friends!

Sorry for the long delay in replying! I just wanted to drop a note to you to let you know how much I have enjoyed and cherished your comments and observations about the first part of Alcheminement, as well as your words of support.

First of all, let me begin by saying how delighted I am by the comments of the younger dancers such as Mona, Neha, Tripti, Pragna, Reeshu and Rutvi. Indeed, I have been practicing alot for this piece! I am very pleased that you all noticed that on the one hand, Alcheminement employs the steps, body and facial movements of the traditional Bharatanatya repertoire; and on the other hand, these codified gestures and movements are used in a different context and with different emotions so that they give a completely different appearance and 'vibe'. I hope through this example, you all see that Bharatanatya is a creative language that you can use to express your innermost thoughts and feelings, even in the most unconventional ways. You have a powerful tool and vehicle of expression at your disposal: it is important to recognize, respect and revere what you have been given by your teachers. Bharatanatya is our language, and you can use it to discover the world in and around you.

We have been very lucky to have received some excellent feedback from many people, including Jaya and Sacha. Sacha's comment regarding the power of Bharatanatya to transmit universal messages is one of the fundamental points of interest for the choreography of Alcheminement. Despite the fact that no obvious storyline, information on the character or context is given to the spectator, we have been very interested to learn that the basic psychology and emotions of war we want to depict are being transmitted to the audience. Because there is only one dancer and more than one character in the piece, the great challenge is to convey enough to the audience through body and facial gesture that they can experience the inner transformation of mood and emotion which the dancer herself is undergoing. Jaya rightly pointed to details such as shifting of body weight, placement of arms etc. that viscerally convey to the audience the intent of the gesture -- the audience gets a 'gut feeling' that a heavy weapon is being drawn and gets a sense of this by the depiction of 'heaviness'.

I want to tell you how much joy you have given me through your careful and enlightened analysis of Alcheminement. Not only is it always a great honour and delight for me to work with Mamatadi, but it also make me happy to be a part of this wonderful institution called Kalabharati. What a wonderful guruji we have in Mamatadi! -- one who has taught us to continue learning this beautiful and sublime art called Bharatanatya.

Most respectfully,
Nandita

[Punam]

After reading all of the posts regarding Alcheminement, I am altogether disappointed to have missed it! I hurriedly went to the photographer's web site (lolaphoto) hoping to catch even a glimpse of the magic....but alas...no avail. Congratulations to all who participated (PS - it took me a while to figure out who/what Nandan was, think I understand now).

Nandita, looking forward to seeing photos or clips.

Love Punam

[renu_chitra]

First of all I would like to express how truly inspired I was when I was watching the piece Alcheminement during the Journée de la Culture performance weekend in Montreal. This piece is yet another master piece of Mamata Aunty's way of applying herself to choreograph. She has not left out any details in order for the dancer to communicate through dance. I saw it all in action - use space, facial expression, incorporate enactment and pauses, selecting the correct tala - all that she teaches us when choreographing a dance. (I am pretty sure there are more elements that I have left out). All the movements were pure Bharata Natya, which enlightens me more about this dance form.

I must also add that this piece 'hit the gutt', if I may write. It was so powerfully performed that you see the warrior in Nandita's eyes. What I find unique about this piece is its title - Alcheminement. I kept wondering what would the theme of this piece may be. I knew that Mamata Aunty and Nandita were working on this piece. We have had many wonderful occasions of seeing her here in Montreal. When Dan read aloud an introduction before Nandita performed I then realized that this item had a deeper meaning. There are no mythological characters or story being told (interpretative). The choreography carries the viewer through the struggle of the one character - in this first part we saw - the warrior in the darker phase of life. In my opinion, I feel that everyone struggles in a darker phase of life at least sometime or another during one's existence.

The thought process that went behind putting this dance together is remarkable. I realize know that to bring life and to do justice to your passion you must give the art that time it deserves. Mamata Aunty, Nandita and Dan have put so much into the first phase of the alchemy process that I can't wait to see the rest! Another piece of brilliant work beyond tradition.

With love,
Renu

[Dan]

Belated hello again from Toronto! In the bustle and hubbub of 2005, yes indeed: another performance of ALCHEMINEMENT part one (melanosis) was presented ... this time in front of an attendant crowd of seventy spectators at the Toronto Film Festival’s photographic counterpart, the Contact Photography Festival. In collaboration with photographic artist ReBecca Miller, this performance featured a dynamic “possession” scene in which the protagonist literally became a puppet -- or more correctly, a Kleist-like marionette -- of the Devil. A recent editing session with Mamatadi in Montréal (at the Centre for Bharatanatya Studies) transformed this rather difficult sequence into a torrential precursor to the subsequent section (leukosis): the protagonist in the revised “possession” sequence is “drained” of his self-mastery in a funnel-like movement of alluvial kenosis (self-emptying, “draining”) and then rises up in a typhoon or cyclone of daemonic fury. The fluidity of this revised sequence heralds the progression from melanosis to leukosis, from black soil to white water, which concludes ALCHEMINEMENT part one and begins ALCHEMINEMENT part two. As it now stands, part one (melanosis) charts a course between a Scylla and Charybdis, its Scylla being the monstrous battle-sequences in the name of the earthly tyrant (the beginning of melanosis), its Charybdis being the daemonic upsurge which propels our protagonist to the shores of the second section, ALCHEMINEMENT part two (the culmination and apocalypsis of melanosis). The shores of the second section are softer, more serene (the desolation and discordance of the first part being replaced in the second by communion, community, and collective harmony), hence the fluidity rather than the rigidity of the movements in this section. Alas, this is only a brief update. More to come. Much more, indeed. À bientôt! -- NANDAN .