Zfin Malta Dance Ensemble, the national dance company of Malta, sprang a surprise by presenting a contemporary adaptation of French poet Mallarme’s 1876 L’Apres-Midi d’ún Faune and Debussy’s 1894 prelude, choreographed by the celebrated choreographer, dancer, and scholar Mavin Khoo at Azad Bhavan auditorium of Indian Council for Cultural Relations (ICCR) recently.
It was performed under the aegis of the Malta High Commission and the Indian Council for Cultural Relations (ICCR). Mavin Khoo hails from Kuala Lumpur. He has studied Bharatanatyam under Adyar Lakshman. He has performed widely in India, moved to London to study ballet and Merce Cunningham technique in New York. Though very popular and in repertory of several dance companies, world over, this particular work has always fascinated choreographers to explore it in different ways.
The most famous one is by Njinsky which was staged in Paris Opera House and he had created a scandal by lying on the floor masturbating and shocking the Paris gentry with his interpretation of sexually aroused Faune! Mavin Khoo has used story of a faun’s encounter with the Ogygia-based Calypso. He has introduced four fauns in place of one faune, (half male, half goat,) who gets excited seeing a batch of female nymphs frolicking in a forest and one of them indulges with a leader Faune, who carries her away and ravishes her. The nymphs run hither and thither agitatedly. Mavin has introduced element of chaos and Venus restores peace towards the end.
The Malta High Commission deserves congratulations for showcasing the state of dance in Malta through their national dance company.
As a resident choreographer and director Mavin has scaled great heights. Despite the e-invites sent with reminders, few local dancers and dance buffs were present. A lot of diplomats were there but for reasons, which, I do not know, not a single officer from ICCR was present. One wished there were more performances so that those interested in works from abroad, could have seen such excellent production during their visit to India.
Beginning with slow movements, all dancers seated in Yogic position rose slowly and then danced in frenzy. The sexual arousal – with flaring nostrils and pelvic thrusts – on part of fauns turns on the nymphs who dance in a tizzy. The company has well trained dancers who execute the concept of well. Mavin himself appears and moves among dancers with his liquid arm movements and incredible grace. The suggestiveness of the poetry and the music is interwoven with rituals, quests and regressions. These are represented with intricate, complex choreography. Mavin uses Yogic practice of dancers balancing themselves head on in shirshasana pose.
With their hour-long performance, they left an indelible impression.
