The affectionate nomenclature “Bollywood” denotes films traditionally produced in Bombay (aka: Mumbai) and which employ some of the distinctive forties and fifties Hollywood narratives. As the program notes for Bring on the Bollywood explain:

“A journalist in the 1970s first coined the nickname for the Hindi film industry by replacing the H from Hollywood with the B from Bombay… which is the capital of the industry.”

The plot in a Bollywood film is filled with romance of one kind or another. Boy meets girl; they immediately fall in love but are then faced with bumpy obstacles so that they seem to fall in and out of love a few times until, finally, working through all these obstacles, they reach a happy ending which is celebrated with a HUGE party. (more…)

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The concentrated format of recent editions of Dancin’ Oxford has made it seem more like a festival, generating excitement through a swift succession of varied events and usually one night stands; however with that comes the difficulty of invidious choices, what to see and attend, and regrets at performances missed.  Particularly an issue for dance where much regular activity is squeezed into the evenings and weekends rather than the normal working day, and dance lovers and practitioners must therefore choose between doing and viewing.  Cheering to report that despite this a couple of shows by popular local performers managed to sell out, making me for one less guilty about not having been able to support them from the audience.  I chose to focus on the interaction of science and dance, a dominant theme of this year’s festival, with plenty of opportunities for questions and discussion. (more…)

Kathakbox: Living Multicultural Possibilities

Thursday 1st March 2012, Pegasus Theatre, Oxford, 8pm

by Sitara Thobani

The Pegasus Theatre was filled with praise and joyful appreciation as the Sonia Sabri Company presented Kathakbox, part of the Dancin’ Oxford 2012 line up. Weaving together dance and spoken word, the production was a wonderful reflection of multicultural Britain as experienced in urban centres across the UK, not only for its chosen subject matter but also for its actual performance aesthetic. Dancers from styles as diverse as North Indian Kathak, Western Contemporary and urban street dancing combined their talents with vocalists specialising in singing, beatboxing and bol – the often tongue-twisting syllables called out by the tabla player that accompanies Kathak dance. Indeed, even though the show was organised into distinctive segments – solos, duets and sections in which the entire group performed at once – that were gripping in their own right, the production was truly greater than the sum of its parts.

Kathakbox was an interrogation of identity and pluralism, which so often confine people to narrow categories and force them to ‘tick the right box’. And while the show was at times extremely literal – in one of the introductory sequences, the dancers scrambled and struggled to find their place in the ‘right’ box that had been traced on the stage floor  – its humour and the warm personalities of the performers made it resonate with the audience in a powerful way. Laughter, cheers and cries of amazement from the audience could be heard throughout the evening, especially when Shane Bansil the beatboxer, Sarvar Sabri the tabla player, and Nathan Geering the b-boy displayed their impressive talents.

Kathakbox had something to offer an audience that was as diverse as its cast.  Although its name and the classical Kathak training of its choreographer and performer, Sonia Sabri, at times linked the show to the Indian classical dance style, the production incorporated so much more and created something entirely new, not reducible to a label or singularity of style.  Each performer played a role that, at least to the viewer, seemed entirely personal, making the performance feel sincere and relatable. It was impossible not to be swept away by their dance, their conviction and their stories. Sitting in the audience, it did not feel as if we were simply watching the show but that we were living it alongside with the performers. To conceive of the show without any one of these performers seems impossible, which is a strong testament to the fine balance they have achieved. It also speaks to each performer’s ability to connect with the audience and build a relationship over the duration of the show. While much work remains to be done to realize the harmony that Kathakbox captured so inspiringly on stage within larger society, watching and being part of the show was bound to leave audiences with a sense of possibility and a determination to try.

It’s that time of year again!

The 2012 edition of Oxford’s very own dance festival, Dancin’ Oxford, opens on Saturday 18th February and continues through until Wednesday 28th March, with an exciting programme of theatre performances, open air events, workshops, exhibition and talks, including the Digital Dance Trail and the Dance and Academia one day symposium.  Guest companies include festival favourites Tavaziva Dance Company in Sensual Africa, aerial dance Compagnie Retourament in their spectacular Danse des Cariatides, Sonia Sabri Company in Kathakbox, and Blanca Li Company in Electro Kif.  Contributions from Oxford based artists include Flamenco Intimo, A Suitcase for all occasions by Paulette Mae, and the Moving with the Times showcase of work by Oxford dance artists, to say nothing of the ever popular Dance-A-Thon programme of taster workshops and a day of intergenerational dance led by the established Oxford company Crossover.

Don’t forget to purchase a Festival pass to gain reductions on ticket prices and other benefits.

For full details of the Dancin’ Oxford programme:

http://www.dancinoxford.co.uk

Enjoy!