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Chandralekha: Negotiating the Female Body and Movement in Cultural/Political Signification

Published online by Cambridge University Press:  22 July 2014

Ananya
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Extract

The lights coming up from downstage left pick up a group of six women edging their way onto the stage from the diagonally opposite corner, their spines collapsed forward from their pelvises, backs jutting out to emphasize the broken line of the spine, knees flexed low, feet weighted to the ground, arms lying stiff and lifeless at their sides, but their heads still reaching searchingly forward. With their broken backs, they move painstakingly, slowly: the heel of one foot rises almost imperceptibly and drags the foot forward, the sole ever unable to dissociate itself fully from the ground. The weight shifts forward with this arduous endeavor as the body resigns itself onto the forward foot. Now the heel of the other foot rises in a barely visible movement and drags the foot, yet unable to lift itself from the ground, forward. The weight shifts one more time and another step is inched on. And again, the heel of one foot rises almost imperceptibly and drags the foot forward and another step is inched on. Each step speaks of weariness and pain, and a quest in spite of that. One by one, the feet pull themselves forward and haul the body across the stage in this terrifying, weighted effort. Halfway across the stage, the women are halted in this journey as if by some unseen attacker looming large in front of them. Acknowledging their arrested pathway, they begin to retrace their steps.

Type
Articles
Information
Dance Research Journal , Volume 30 , Issue 1 , Spring 1998 , pp. 25 - 33
Copyright
Copyright © Congress on Research in Dance 1998

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References

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I wish to acknowledge the invaluable research of Barucha, Rustom on Chandralekha, , published in his book, Chandralekha: Woman, dance, resistance (1995, Delhi: Indus). While I have not quoted directly from his comments, and while my reading of Chandralekha's work differs substantially from his in some ways, my familiarity with his text may have affected my perspectives and word choices in several places.Google Scholar