Modern Dance in India From Tradition to Modernity

On December 8, 2015, I arrived in Kolkata, India, together with my 15 colleagues from the Beijing LDTX Dance Company, for a two-week cultural exchange program with Rhythmosaic-Sengupta, a local dance group. During the period, LDTX and Rhythmosaic-Sengupta co-staged the dance production White Lotus-Black Sand.

The dance production was inspired by Panchsheel, the Five Principles of Peaceful Coexistence (including: mutual respect for sovereignty and territorial integrity, mutual non-aggression, non-interference in each other’s internal affairs, equality and mutual benefit, and peaceful coexistence) that were agreed upon between Chinese Premier Zhou Enlai and Indian Prime Minister Jawaharlal Nehru six decades ago.

Naturally, the production demonstrates the friendship and cooperation between Chinese and Indian artists. White Lotus-Black Sand consists of five episodes, of which the first and third episodes were performed by 11 dancers from Rhythmosaic-Sengupta, the second and fourth episodes by 13 dancers from LDTX, and the fifth episode co-performed by dancers from both sides.

White Lotus-Black Sand debuted in the Kolkata Club on December 12, and was then staged in Arts Acre, GD Birla Sabhaghar, and the auditorium of the Indian Council for Cultural Relations (ICCR). Despite the fact that they are all located in Kolkata, the four venues are targeted at different kinds of audience: A Victorian-style building designed for the upper nobility to relax, the Kolkata Club reflects the history of India as a British colony. A venue for modern art performances and exhibitions, Arts Acre is a hub of India’s avant-garde arts. Constructed like a huge temple, the GD Birla Sabhaghar demonstrates the traditional side of India. The ICCR serves as a window for Indian artists to communicate with their foreign counterparts and showcases the country’s most established culture and ­art. LDTX dancers experienced India’s multi-faceted culture while performing at these four venues.

During the two-week cultural exchange program, Chinese and Indian dancers rehearsed and performed together, thus gaining insight into each other. Both China and India boast a profound traditional culture. However, such cultural profundity becomes a burden for young artists who wish to make breakthroughs. It wasn’t until 1987 that China introduced modern dance into its art academies. After nearly three decades of art practice and debates, the country has created a relatively free space for the development of modern dance. Today, modern dancers in China no longer fret about whether they should preserve traditions, and, are no more obsessed with breaking traditions because they now have freedom to decide whether they want to uphold or break traditions.

Evidently, Indian dancers remain in a transitional zone between tradition and modernity. Youngsters are in favor of modern dance’s free expression, but at the same time, they cannot completely get rid of the influence of traditional dances. Moreover, most Indian spectators still prefer complicated rhythms, strong colors, and hand postures full of traditional narrative beauty when watching dance performances. As a result, Indian performers of modern dance cannot freely choose their ways of expression. Nevertheless, I was impressed by the calmness young Indian dancers displayed in performing White Lotus-Black Sand – such calmness is already rare in an over-commercialized Chinese society.

After a week there and in-depth communication with their Indian counterparts, Chinese dancers got to know the other side of Kolkata. Li Kehua, a dancer from LDTX, posted on her WeChat account: “Half of my trip in India has passed, and my worries about staying in the country have disappeared. Humans have a strong ability to adapt, and, at the same time, long for goodness. The bad impressions that the city left on me – dirty environment, greasy food, noisy crows, and streets packed with homeless cats, dogs, and even goats – were gradually replaced by good impressions of local people with hospitable smiles. In my eyes, the city, from being an unattractive place, has become something colorful and appealing. I finally realize the reason why so many people love the city. There, one can calmly review his or her own life and find one’s true self.”

The author, a modern dance choreographer and educator, has been instrumental in the development of modern dance in China. He is also a modern art curator and manager. Born in Hong Kong, he received his modern dance training when studying at a U.S. college between 1973 and 1977. In 2005, he founded Beijing LDTX Dance Company and has since served as its art director. From 1980 to 2015, he choreographed more than 60 dance productions of various styles, including Bird Songs and One Table N Chairs. His choreographic works have been presented at many international art festivals. He has received many honors and awards, including the 2014 “Award for Outstanding Achievement” by Hong Kong Dance Alliance.

Published in the INAUGURAL ISSUE of CHINA-INDIA DIALOGUE