Out of India: Modern Moves is a showcase of three distinct pieces demonstrating the rich dance offers of India.

NH7, the first piece of the evening, deals with the effect of capitalism on Indian society. There is a prevalent discord between personal identity and seemingly professional demands that seems to compromise a person’s morality, conjuring a jarring sequences of movements from the dancers onstage: Charan CS and Amaresha Kempanna.

A synchronised start descends into more individual movement, marking the men’s attempt to leave their rural past behind and embrace urban spaces in search of a better existence, entering into a dog-eat-dog world. Dressed in casual office wear, the duo enter into a battle of dominance with one another, with one dancer swiftly promoted, inflicting his new found heights onto his friend. Tight movements are linked with casual moments, which in theory support the concept of the story, yet on stage, appear messy and undone. The performance is almost like a rehearsal; I’ve no doubt of the skill of the dancers – when they hit it, its impressive to watch – but the overall number seems a little unpolished, regardless of intention.

 

Trikonanga is choreographed and performed by Hemabharathy Palani. In the programme, she is printed as saying her piece combines physical ties of three dance forms – Bharatanatyam, contemporary and ballet. It is the most emotionally visceral performance of the evening, with haunting sound and video design from Yannick Rayne. It’s a powerfully, feminine performance where Palani’s body is wrapped in purple silk with vibrating movements hidden by the draping fabric. Her piece culminates in specific moments of manic distress, in the first sign of her inner turmoil she utters words in fevered chants, before sprouting water from her mouth, dowsing her body in liquid. The outbursts could be seen as an attempt to break free of traditional bounds and to seek a response.

Choreographed by Surjit Nongmeikapam, Nerves is about organic movement, performed by dancers and non-dancers. Nongmeikapam wanted the piece to come from within each performer, reflecting the challenges they have faced everyday whilst living in Manipur. The robust dancers thud round the stage with heavy boots on, circling each other in a somewhat tribal manner It’s a power performance that has a succession of strong images, the height of which is the closing picture of the performers wrapping themselves in red cotton, from wheels situated to the side the stage. Like a forensic scene, the stage becomes a mass of red lines and naked bodies.

The three dances are hugely different and showcase some immensely interesting work coming out of India. They are in need of some further polish and transitional sprucing, but they provide an intriguing glimpse into choreographers’ whose work will undoubtedly mature and grow over the next few years.

Out of India is showing at the Barbican until 24 October. For tickets and further information, see the Barbican website. Photo by Bhooshan Iyer.