Flash Reviews

der Standard
sa/su 6./7. July 07
p.26
Outrageous Paperdoll

Two works of Padmini Chettur at Salzburg’s Sommerszene by Helmut Ploebst

Salzburg – If we in this country think of Indian dance, we tend to conjure up images of innocent folk art, ranging from snake charmers to the icon of Bharatanatyam Alarmel Valli. Chandralekha was the first “modern” Indian Choreographer, who managed 25 years ago, to abandon the stereotype of temple dance. Her student, Padmini Chettur (37) has set standards, as could be seen here at Salzburg’s Sommerszene, which are outrageous for India and a real challenge for Europe. Chatter’s work cannot be appreciated highly enough, particularly if it is regarded from a European vantage point and seen in the context of Indian dance culture. In order to get an impression of how radically different the works of this Chennai-based choreographer are and that her creations have nothing in common with mainstream Indian dance, one would have to mention names like Trisha Brown or Yvonne Rainer. Sommerszene presented two extensive pieces, Paper Doll (2005) and Pushed (2006) that, even in the European context, do show their pioneer-like qualities. She provokes even here, also because her aesthetic and political position is several degrees stronger than those of European dance-conceptualists. However, the insight, that Arts have a better impact on society if the chosen form is contradictory to the conventions of the establishment, is shared by all dance-conceptualists.

Slow-motion extreme
The extreme slow motion of all her movements is characteristic for Chettur and so is the conscious renunciation of male dancers and the strong anchorage in the Indian culture – mainly through the costumes- as well as the deconstruction of Bharatanatyam by means of Western dance. Chettur`s choreographic minimalism found in “Paper Doll” a strictly formalistic expression, in “Pushed” atmospheric and narrative elements are incorporated. The artist hits the audience where it hurts: She crosses the boundaries into what was named “Fade” by the French philosopher Francois Jullien. Although Jullien was referring to historical Chinese Art, he is understood to have meant the single space into which performing Arts never move, in fact they avoid it like the Devil would avoid Holy Water. Both shows in the “Republic” were sold out and Chettur and her dancers were appreciated with much cheer and applause. For her precision, her strength, her consequence and most probably also for her refined charisma and her fascinating presence. The choreographer is slowly but surely receiving the appreciation she deserves in Europe, as she remains highly controversial in India, almost like Pina Bausch in Germany some time ago.