Jogwa – A choreography by Vishwakiran Nambi

Inspired greatly by the song Lallati Bhandar from the Marathi movie ‘Jogwa’, Choreographer VishwaKiran Nambi’s piece can be described as a tribute to surrendering oneself to anything that has a higher meaning and purpose. From the moment he heard the track his body explored newer realms of movement and dance which invoked a different feeling of being content and it changed the way he moved into something divine, inhibited, no geometry or lines, this piece became purely about the physicality of ones body and not the practicality of the mind. He began to realize that a dancer could come to a point in his or her life where the mind can be completely shut off, while the body moves to rhythms and vibrations of what it hears.

The track had a crude, authentic and folk feel to it, which is what appealed to Vishwa, he began to venture into a different territory of movement. He began to research more into the meaning of all this, how people moved in certain festivals where the entirety of their body and mind belongs to the The Man Above, losing their bodies in something that they believe in. How one dances in a Jatre or a procession which is directed to the energy that they believe in. This kind of movement was something he did not initially understand, but with this change, his thoughts also transformed, he began to understand the idea behind why people danced with such vigor, vibration and bounce. Another aspect that excited him, was the speed factor in the track; something he had not given notice to earlier, this resulted in the creation of multiple fast images. When he actually began to create the movement there were two things that were most important, the speed and the idea of surrendering and immersing oneself into a moment completely. Training and technicality were thrown out of the window, what mattered now was releasing energy and reaching a higher level of consciousness by losing consciousness.

The challenge now, was to teach this movement vocabulary to polished contemporary dancers, it was a task not only for him but for them as well. To be able to break out from years of technical training and go into a space that required everything but technique, was a grueling but emotionally uplifting journey. All the texture came from Vishwa, because it was new for him, every time he moved he thought ‘wow, what is this?’ as he listened to the music, his eyes automatically closed, his mind shut off, his core became like a magnet to the rest of his body and he could feel his chin sinking into his chest and every movement coming out from the very depth of his core, his soul ‘it felt so within, yet so loud and dynamic’. The choreography as such did not take time, it was the soul of the piece that needed time.

After performing the piece for the first time at the annual student showcase by Nritarutya, the dancers were so overwhelmed, some of them had tears in their eyes, they told vishwa that they had completely lost themselves in the moment and that they had connected to the piece, that was the highlight for him, for all he wanted was for them to feel what he felt; complete surrender.



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