How the Not in My Name protests inspired us to create nightlong performances of resistance
On June 28, during a protest against the lynching of Junaid Khan, his parents remembered the boy who had made a pre-Eid shopping trip to Old Delhi, not knowing it was the last. Just as his brother Junaid was reading the letter from heaven, there was no dry eye to be seen.
The manifestation of Delhi denounced the hate to talk about love and call people as agents of individual change. How could we support this voice after the dead fury? As a group of dancers, we instinctively get our body to get answers.
Finding ourselves in a studio in Delhi a week after the events of No in my name, we ask ourselves: What in the code and tensions of individuality and citizenship can we find a language of resistance? How was this resistance rooted in the musculature of the body?
How should we respond to how to pray, eat and hate? These questions have become long nights of resistance, a series of night shows that mobilize dance, music and poetry in order to recover the body of citizens. The shows are a set of structures that are derived from our experiences of prayer, resistance and patriotism.
“As dancers, we have access to a body knowledge that helps us to develop and embody some of these ideas,” said Mandeep Raikhy choreographer, one of the employees. “For example, I was struck by how the body is at the heart of many of the fundamental rights enshrined in the Indian Constitution. A movement that organized dissent must have several events, and as dancers, we are able to do so at Through the body “.
With its ability to cover the entire spectrum of human experience, the arts were a form of protest crucial period of social and political change. In 2012, theatrical artist Maya Krishna Rao has created Walk, a performative monologue that affirmed absence and claim the rights of women to safety in public places and freedom of movement.
Ride was held in response to the gangrape on December 16. “I’m going to walk, I’ll sit in a bus, I’m going to sleep in the park, I’ll try not to be afraid of the dark,” said selection, juxtaposition programming everyday life versus claims experiences women in spaces The public. Rao, Paseo tarde became a model for protest performance – his diaries do not agree with the sinister forces that seek to undermine it.
She continued to hold during the student demonstrations of the Jawaharlal Nehru University in 2016 and again in the No on my behalf protests in June 2017. In another case, during the Arab Spring in 2013, the Egyptian Compagnie dancers of the Opera Ballet de Cairo took to the streets, running the Zorba ballet in front of the Ministry of Culture to protest against the statements of Islamic officials who sought to denounce the ballet as “art of nudity”.
Aimed for 25 days Zorba became one of the main acts of foundations protest against the ministry. When Zorba returned to the stage of the Cairo Theater three months later, it became a powerful symbol of protest against an oppressive regime.
These are some of the influences we have made in the study. In our first essay, we used a range of gestures and functional rituals extracted from our worship experience, to develop a structure of movement based on time.