Schedule : 31st Oct. 13:00 – 16:00
Venue : Mindtree Kalinga Campus – Classroom
Plot No. 1, Chandaka Industrial Estate, Chandrasekharpur, Khurda, Bhubaneswar, Odisha 751015
Participation fee : Free
Telephone : +91-7873124999
The fusion, coexistence, divergence, and possibility of tradition and modernity in arts and culture.
– Focusing on classical dance and contemporary dance in Japan and India –
Japan and India both have their own classical dances that they can proud of to the world. Their traditional dance forms and techniques have been maintained and handed over from generation to generation. In Japan, various new forms of dances such as ballet and modern dance were brought from the West after the Meiji era (1968-1912). To date, the types of dance popular in Japan have expanded further to include contemporary dance and hip hop. In India, on the other hand, Bollywood dance, which was developed based on a variety of classical dances, gained huge popularity among the masses, and contemporary dance has recently started its infancy. In the two countries, the traditions of the dance performance, which is in other words a type of artistic expression using human bodies, have been passed down between generations while reflecting their respective history and representing individual culture. At the same time, the two seem to be trying to develop contemporary arts and dances to enter into the global art scene.
The symposium, in principle, focuses on the classical dances and contemporary dances in Japan and India. The session will start off with the artists performed in the Biennale and researchers report each other how the traditional arts and culture, which was derived from the local ethnicities/folk customs/regions, and the modern arts and culture are fusing, co-existing, or deviating in the world of performing arts and in daily life. With having the reports as the foundation, the attendees will build on it with discussion on the meanings, possibilities, bottlenecks, etc. of creating new art works from traditional arts and culture. What is aimed at by the symposium is to foster understanding of the arts and culture, and promote communication among the attendees towards the future. For that purpose, the deliberation on the traditions, the preservation and inheritance of the traditions, how things are in the modern age, and on-going new creations should not be the superficial introduction of dance performances or initiatives. It should be based on the deep understanding of the history and the cultural background of the two countries, and involve a wide range of perspectives. It is strongly hoped that the symposium shall be an opportunity to start new arts and culture, and boost international exchange in this field. During the session, not only the artists, but also spectators, and viewers from Japan, India and other parts of the world will have an opportunity to explore and confirm their own identities, and they are expected to leave the venue with profound understanding and respect for each other’s culture.
Dance critic. Born in Osaka. 1992 Russian Academy of Theater Arts -GITIS (Moscow) training. Currently, she writes daily criticism, reports, interviews, newspapers and magazines such as the Nikkei Shimbun and Dance Magazine. Perm (Russia) International Ballet Competition Press Jury, Vichevsk (Belarus) International Choreography Competition Press Jury, Seoul International Dance Competition VIP and others. She was a member of the Agency for Cultural Affairs National Cultural Festival, a judge of the same art festival, and a selection committee for the same arts. She worked as a program officer of the Japan Arts Council. Overseascoverageextendsto 37 countries. Co-authored Ballet Gallery 30 (Gakken), Russian Culture and Art (Seikatsu Journal Company), book Ballet Feeling (Bunensha).
In 2012, the Nihon Buyo Foundation UkraineTourserved as a navigator for Japanese dance performances in the three cities of Kiev, Donetsk and Livy.
In 2015, coordinated “Encounter” performance “NOBUNAGA ” collaborationprojectwithRussianworldballetdancer, Farukh Ruzimatov, Iwata Morihiro and Fujima Rankoh.
Naomi INATA is a dance scholar and critic. Her research and critiques covers from Western classical ballet to Japanese contemporary dance and Butoh, cultural policy and community dance as well.
She holds a Ph. D in Arts, the thesis Study on Tatsumi Hijikata: Ankoku Butoh – a riot against the body as a system, an MA and BA, from Waseda University.
She is the author of Tatsumi Hijikata – The Body One and for All (NHK Book, 2008), critical biography of Tatsumi Hijikata, founder of Butoh. The book was awarded the 14th AICT, Association International des Critiques Theatre, Theatre Critic Award Japan. She is co-writer of Keywords in Theatre Studies (Pericansha, 2007), Ballet Gallery 30(Gakken, 2006), 20th Century…dance…Choreographer…Works (Yugisha, 1999) etc.
(Choreographer & Artistic Director, Attakkalari Centre for Movement Arts, Bengaluru, India)
Jayachandran Palazhy is a dancer, choreographer, teacher and the Artistic Director of ‘Attakkalari Centre for Movement Arts’, Bengaluru. He has trained in Yoga, Bharatanatyam, Kathakali, Indian folk dance forms, Kalarippayattu, contemporary dance, Ballet, Tai Chi, Capoeira and African Dance. An innovative choreographer, Jayachandran’s collaborations with international artists whose works involve digital arts and interactive technology have resulted in exciting and acclaimed multimedia dance productions of a unique genre, which have toured extensively within India and internationally. At Attakkalari, he has initiated a Diploma in Movement Arts and Mixed Media; research and documentation initiatives including NAGARIKA – an interactive information system on Indian physical traditions; education outreach programmes; the internationally reputed Attakkalari Repertory Company; TransMedia Technologies which provides stage technology solutions; and the Attakkalari India Biennial, South Asia’s largest and most important festival of contemporary dance. He has also worked as director, consultant and mentor for dance residencies and festivals in different parts of the world.
Sadanand Menon explores the charged space linking politics and culture through his work in media, pedagogy and the arts. Besides the Asian College of Journalism, Chennai, where he has been teaching an ‘Arts & Culture Journalism’ elective since its inception in 2000, he is also Adjunct Faculty at IIT-Madras and at Presidency University, Kolkata. He has been an arts editor, columnist and photographer in the mainstream media and has also been active in critical alternate spaces. A long time collaborator with the legendary dancer/choreographer/writer Chandralekha, he is also a leading stage lights designer. He has been on the Advisory/Executive Committees of the National Museum, National Gallery of Modern Art, Lalit Kala Akademi, National School of Drama, Indian Institute of Advanced Study, Shimla, the Board for Intangible Cultural Heritage, Raza Foundation, Delhi, Gati Dance Foundation, Delhi and Dakshinchitra, Chennai. Alongside Romila Thapar and A.G.Noorani, he has an essay in the book ‘On Nationalism’ (Aleph, 2016). A recipient of the Kerala Lalit Kala Akademi’s prestigious ‘Kesari Balakrishna Pillai’ Award for cultural criticism, he is managing trustee of the Arts Foundation, SPACES, Chennai