It is an hour before show time and you see him, dressed in a formal kurta-pyjama with a vest, sharing notes with Almitra Billimoria, event coordinator from Marg, guiding the technicians, walking around the waiting area greeting friends and fans with a hug and a handshake. Astad Deboo exudes warmth and vibrancy.
The formal launch of the Marg issue on ‘Contemporary Dance in India’ is attended by the glitterati at the Black Box, G 5 A Foundation for Contemporary Culture, Mahalaxmi, Mumbai.
Welcoming the guests Naman Ahuja, Editor of Marg terms this special issue, “a path breaking exercise.”
“Writers around the globe and institution builders have contributed to Marg over the years in a series of reinvention,” he adds.
“It is the first time I am wearing an editor’s cap and it is a great learning experience. The seed for this special issue was sown some years ago. Dr. Ketu Katrak and I worked together. Without her input I could not have achieved this. It is the fruit of three years of effort, featuring a wide range of choreographers,” says Astad Deboo, handing over the copy to Leela Venkatraman, well-known critic with a writing experience of four decades.
“Tradition and contemporary are considered two ends of a spectrum; Not really so. One draws strength from the other,” observed Leela. She quoted examples — Kumudini Lakhia’s presentation of ‘Coat’ without deviating from the Kathak technique; Uday Shankar’s film Kalpana depicting machine and man power; Chandralekha, sensitised by the irony of dancing Madhura Nagarilo when there was a famine situation in India, started talking about the human body; and Ramli Ibrahim presenting contemporary Odissi.
A film by Sreenath Muthyala featuring dancer Eriko Sugimura was screened. The voice of Aruna Sairam (‘Paiyada’ with Ram Sampath) filled the space. Spins and sensual swirls in swara segments enhanced by soulful expressions in sahitya, communicated the intense longing of the courtesan in this technically well made film.
Man with the mask
The light focussed on centre stage. Was it a face painted white? No. It was a mask; you could decipher from the gleaming eye balls. The expression softened. The mask crumpled. Shamsul, the man behind the mask, was not wearing it but holding it in his hands and causing those expressive creases. A case of mask being more expressive than facial muscles.
“Shamsul has been in some of my shows since 2007 and has made this mask himself,” said Deboo. From Salaam Baalak Trust, Shamsul’s is a story of anonymity to recognition. He is also a skilled puppeteer.
Avantika Bahl and Vishal Sarvaiya
‘Say, what’ the next presentation, said so many things silently. It was just two bodies — Avantika Bahl and Vishal Sarvaiya — “physicalising an idea” as Avantika put it. No support system such as music or dialogue. Hands moved, then legs, shoulders, torso, only feet, mirroring movements; there was push and pull; control and manipulation of movements. “The body speaks, breaking the barriers of codified language,” said the duo, who were casually dressed in black pants and T-shirts, as it was all about a casual conversation. “We need to be rooted in real time. Not removed from reality. We are just two people, not playing any character,” they said.
Sometimes silence is eloquent. The duo justified Leela Venkatraman’s statement that youngsters are able to express concerns and issues through dance.
Then it was time for Astad Deboo to take the stage. He took position in a silhouette, the light falling on his fingers that fluttered like a bird and opened like a flower. The hands moved gracefully and the feet glided even as the light spot slowly engulfed the entire body, which moved to magical music. The visual effect was stunning as Deboo carried the audience with him on a transcendental journey. He kept them engrossed by the expressive play of his eloquent eyebrows, invoking his Kathakali background. In a flash, his countenance became calm.
In a silvery costume he swirled in chakkars and then came a moment of stillness — absolute quietude except for the mild breathing. As if on cue, the audience erupted in applause after which Deboo took the curtain call with his protégées.
Leaving the show, one wondered what gave that edge to Astad Deboo the man, which reflected in his performance. Deboo’s fitness regimen (“work out, walking, swimming, yoga and tai chi”); his “ear for eclectic music” (“I have collected a library of music through the decades. I also work with composers singers and musicians”); his f training in Kathak and Kathakali (“classical foundation is not mandatory but a dancer needs training in a dance technique”); his technical insight (in terms of lighting); his discerning eye for talent that makes him a mentor and catalyst for artistes — all these combine to give a fascinating dimension to him and his art.
