basement 21 presents:
encounter series – triple bill
basement 21 @ SPACES
venue: SPACES, 1 Elliot’s Beach Road, Besant Nagar, Chennai 600090
time: Feb 21, 7pm
According to Official Sources…
Concept/Choreography/Performance: Mirra Arun
Sound Design: Ghostape (Gati Summer Dance Residency 2014)
‘You can leave your hat on’ (1986) by Joe Cocker
‘What a wonderful world’ (1967) by Bob Thiele and George David Weiss; recorded by Louis Armstrong.
Concept/Choreography/Performance: Venuri Perera
Sound: Ghostape, Chinthaka Jayakody
Visuals: Lalindra Amarasekera
Production: GATI Dance Forum, Delhi and Goethe Institut,Colombo
Concept/Choreography/Performance: Avantika Bahl
Sound Design: Samar Grewal
‘Here’ is produced by Attakkalari Centre for Movement Arts at the FACETS International Choreography Residency
basement 21 is a platform that presents the ‘contemporary’ in art.
It investigates contemporary thought and action by focusing not just on the artistic ‘product’ but the artistic process and surrounding discourse. In this way, it aims to provide and allow a necessary context to be reconstructed.
basement 21 is run by practitioners, informed by practice, and therefore committed to enabling and strengthening the growth of contemporary arts practice.
More than ever before, young makers working within the broad confines of contemporary dance in India are defining new parameters that demand fresh definitions of context. That go beyond formal categorization, that defy historical links. Their notions of identity are no longer nationalistic, their references eclectic.
As with the three works presented at this encounter, a large number of new creation in India is done within the ‘Residency’, a borrowed format that offers support and visibility while perhaps interfering with the larger artistic life of the creator.
In conversation with Anoushka Kurien of Basement 21, Avantika, Mirra and Venuri will enter a dialogue that will take us from the most essential question – ‘Why Dance?’, to equally important questions around modes of production and the problematics of creating ‘platforms’
for dance funding and consumption that seem more and more contrary to the artistic process, shortsighted in their visions of what contemporary dance in India could become.