MASS: A Contemporary Dance Performance In Bangalore By Satakshi Nandi At Meeraqi

MASS: A Contemporary Dance Performance In Bangalore By Satakshi Nandi At Meeraqi

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(Last Updated On: December 23, 2017)

MASS: A Contemporary Dance Performance In Bangalore By Satakshi Nandi At Meeraqi

MASS: A Contemporary Dance Performance In Bangalore By Satakshi Nandi At Meeraqi

The event is going to be showcased on January 12th and 13th 2018 at 7:30 pm.

Ticket: Rs. 100

You can pay online for the performance here.

MASS is a work in progress contemporary dance performance in Bangalore. It establishes a conflicting relationship between a person and a piece of rope tied at one end of the room to the other. A piece of matter that connects things together, also divides an area into two halves. You can either be at one end of the rope or the other at one given moment of time.

The main theme of this contemporary dance performance in Bangalore is the depiction of obstruction that literally gets expressed while the dancer is moving with the rope. This nimble play between the object and the dancer, which is a single ended instigation by the dancer, gives the essence of the piece. The work survives on a layer of subtle humor as much as it creates an environment of tension and struggle between an underdog and an undefined piece of mass.

The communication between the two characters (human and non-human) can be looked upon as a futile fight, an endearing yet hateful companionship, a form of constant negotiation or a lonely woman’s rant. The presence of the ‘other’ is stark and loud. And the protagonist’s need to cross a certain absurd barrier that is imagined yet manifesting from the reality of the present circumstances is constant.

Whether the underdog triumphs over the passive object, or there is an amicable equation established finally, will evolve towards the end.

Choreographer’s Insight Into MASS: A Contemporary Dance Performance In Bangalore And Its Process:

After juggling with quite a few concepts, of which the rope was a common part of the imagined set up, as a way to begin the process, I tied the rope from one end of the room to the other. What gave me was an interesting image of the rope dividing the room into two halves. The simple, yet minimalistic image seemed more interesting to me and I decided to stick to it as a basic premise for the work. Even though I knew I was going to create a solo, the presence of another being seemed crucial. Thus the process is evolving into giving us two characters – the human performer and the rope itself.

The immediate visual of barriers and borders may seem apparent and that is exactly one of the symbols of the piece. As a friend said, while discussing the work with him, the juxtaposed image of an object that is known to bind things together, in this context is also creating a divide. This contrasting image when played with can lead to more scope within the choreography.

The contemporary dance performance in Bangalore is quite physical and the choreography is of course based on contemporary dance technique. But, because the concept of space and time is warped, the movement vocabulary needs to be interpretations of movements from contemporary rather than directly dancing the familiar movements themselves. The movement is stripped down and applied in accordance with my anatomy where my hips or chest need not be square. The movement is adjusted according to the obstruction created by the rope, rather than adjusting the rope and its context to the movement. The quick shuffles of the feet and the overreaching of the torso are result of finding ways of moving with the setup of the piece. Humor is important as it allows the audience not to take the dancer seriously and laugh at her folly. This inclusion of folly, letting the dancer be a butt of all jokes needs her to manipulate her body accordingly. Theatre devises have been applied to build the piece.

The politics of being obstructed, or being deprived of inhabiting two spaces at the same time, and one’s survival within these demarcations becoming a never ending juggle, becomes more stark as the contemporary dance performance in Bangalore progresses.

About The Dancer:


MASS: A Contemporary Dance Performance In Bangalore By Satakshi Nandi At Meeraqi

Satakshi is a Contemporary dancer from Kolkata. She holds a diploma in Movement Arts from Attakkalari, training in contemporary dance technique. She has prior training in Kathak and Classical jazz and is a theatre performer with collectives within Kolkata. She also collaborates with film makers as a movement artiste and actor. Her training experience also includes learning Kalaripayattu to understand the application of the form’s principles into dance, apart from exploring improvisation tools to build on her movement vocabulary. Her main interest lies in imbibing elements in different movement forms that can enable people to form their own vocabulary through an inter-disciplinary approach.

She has also been an understudy for Preethi Athreya’s choreographic work ‘Conditions of Carriage’ in 2016. Satakshi has recently finished an internship with a collective of Parkour artistes in Chennai called, ‘Parkour Circle’ in 2017, training and working with the group to understand ways of connecting Parkour to dance and vice versa.

Her choreographic works include, an evolving Solo dance piece titled, Strange Fruit’ which was presented at PECDA 2016. As a dancer and co-choreographer in a dance theatre, titled ‘Sister Outsider’ in collaboration with Ludivine Metarie(supported by University Paris 8).

Her other works include:

  • as a dancer in the ‘Chandralekha Memorial event’ in 2016 wherein an excerpt of Chandralekha’s 1991 piece, ‘Sri’ was revived.
  • a dancer in ‘Praatohkrityo’ a dance theatre by the collective Theatre Formation Paribartak which travelled to Delhi and Kolkata,
  • as a movement artist and actor in National Award(best Biography and Cinematography) winning film, ‘Amar Katha’(2014)
  • as a dancer in a video installation project ‘Across the Burning Track’ which premiered at the Shanghai Biennial 2016.

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