BWW Review: Challenging the Status Quo with the KATHAK ENSEMBLE & FRIENDS

BWW Review: Challenging the Status Quo with the KATHAK ENSEMBLE & FRIENDS

BWW Review: Challenging the Status Quo with the KATHAK ENSEMBLE & FRIENDS

On the evening of March 3, 2017, the Kathak Ensemble & Friends, under the artistic direction of Janki Patik, presented a new Indian-influenced contemporary dance at the Danspace Project at St. Mark's Church-in-the-Bowery. This new work entitled WE SINFUL WOMEN, draws upon the theme of universal repression of women. The choreography is performed to the words of female Urdu poets Ishrat Aafreen, Kishwar Naheed, Zehra Nigah, and Fahmida Riaz along with an original music score by two-time Canadian Grammy-winner and composer Kiran Ahluwalia.

The poems are part of a collection of the same name, WE SINFUL WOMEN, originally published in 1990. It tells the story of women who had few rights- and their poetry was considered blasphemous for bringing up such themes. The poems along with the choreography send a strong message of feminism and women's rights. However, Ms. Patrik describes the work as "..not classical Indian dance. And the poets do not consider their texts 'feminist' poetry either. Instead the dance, poetry, and music join in expressing what it is to be a woman- her tender feelings, her pride, her resistance to efforts to destroy her selfhood, her sadness at consistent denigration by those in power."

The dance contained eight movement sections. Each section represented a different poem. Some of the parts really resonated with me. The opening segment was called FIRST PRAYER OF MY ELDERS. It focused on the deep sadness of a woman who just gave birth to a baby girl. In traditional Indian culture (and many other cultures), having a son was seen as a valuable resource, since males can earn money, while having a daughter was seen as a liability because of the financial responsibility her parents owe to her husband's family. Another part that I enjoyed was entitled IMAGE. It talked about the comparison of what society expects of women, how a woman views herself, and how drastically different the two images can be. Playing with the idea of mirroring- moving like one's reflection in choreography- there was a tension of which image will be accepted, which one should be exposed.

I enjoyed the relationship between SAROPA/ From Head to Toe and ANTICLOCKWISE/ From Head to Foot. In the first section, it is a man speaking about how he adores his wife. However it portrayed the idea of the woman being clasped at the ankles and being tied down. The second part is the woman's response. It was very forceful in that the man can do everything he can to hold the woman back, but she will not be broken. We need to remember that our mind is our greatest weapon. Hinduism, as many other religions, is a predominately male oriented one that has trickled down to become societal norms often curtailing a woman's freedom. There is a traditional dominance of male authority that often restricts women. Many wives live miserable lives as servants to their husbands and kept in confinement. This leads to much resentment and anger- which is an expression of their pain and hurt.

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Caryn Cooper Caryn Cooper is an arts administrator, educator and performer from Long Island, NY. She began her dance training at a young age studying ballet in the Royal Academy of Dance (RAD) technique and other dance forms such as tap, jazz, hip hop, modern and West African. She has had the opportunity to perform at various venues in the Greater New York City Area including, Radio City Music Hall, Tilles Center for the Performing Arts, the 92Y, Ailey CitiGroup Theater, Central Park, and The Wild Project. Administratively, she has worked for a number of arts organizations including Alvin Ailey American Dance Theater, Ballet Hispanico, and the New York City Center. Currently at Flushing Council on Culture and the Arts, she works to plan arts education programs for schools and seniors in underserved communities throughout Queens and the New York City Metropolitan area. Caryn is currently a Moving for Life Certified Instructor (MFLCI) where she uses dance to help breast cancer recovery patients and those dealing with pain caused by chronic illnesses. She is currently pursuing a certification as a BodyMind Dancing (BMD) Instructor, under the direction of Dr. Martha Eddy, to guide students as they reflect and learn about the 3-dimenionality and repatterning of the body. Caryn is a member of Americans for the Arts, the National Dance Education Organization (NDEO), the New York State Dance Education Association (NYSDEA), and sits on the Young Professionals Committee of The Possibility Project and the Board of Trustees for Moving for Life, Inc. She is also a Contributing writer for BroadwayWorld Dance. She is the proud recipient of the 2016 Field Diversity Award and the 2017 Jessica Wilt Memorial Scholarship through the Americans for the Arts.