A Ritual for the Future-Coexistence (Land and Body)

Posthuman 

Curated by  B Ajay  Sharma, Umesh Kumar Nayak
Cynthia Post Hunt and Chaiworawat Natthaphon

Collaborated with Tinni Mahapatra, Sanjukta Ghosh and Amrita Banerjee

The production was an innovative initiative created with first-year students. Despite their inexperience in performance art, their fresh perspectives and creative ideas significantly enriched the project. This project demonstrated their capacity for creativity and innovation, resulting in a compelling and impactful experience. While I had some key elements in mind, many aspects emerged organically during the preparation process. After struggling to find suitable songs with professional singers, a student sang a piece I immediately liked. I want to thank the printmaking department teachers for their support.

On the performance day, our first task was to create and construct a bamboo temple-like structure and an installation, which aligned with my original vision. With the help of artist Suresh, we completed the framework and covered it with Neem leaves. We hadn't chosen a location yet, but after taking a break, I discovered a spot beyond the campus that resonated with me. I wanted the students to perform naturally rather than theatrically, so I provided a few hints and basic guidelines and emphasized authenticity and the essence of life, aiming to boost their morale and confidence. Encouraging them with hope for positive outcomes. I clarified that their actions would enhance the overall performance piece.

At 3 PM, we started setting up the space and bringing materials on site. At 4 PM, the curators asked us to wait. At 4:30 PM, as the audience began to arrive, I commenced my performance, perfectly timed with the setting sun.

The performance explored themes of land, coexistence, and our relationship with it, blending mundane tasks into art. The three students—Tinni, Sanjutha, and Arpitha—worked together seamlessly. Arpitha ground jaggery with focused precision, while Tinni and Sanjutha prepared the neem leaves for their medicinal use. The air was filled with the sweet scent of jaggery and the fresh aroma of neem, showcasing our teamwork and shared dedication to the task.

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I dove back into my performance routine, taking on the challenge of consuming the intensely bitter neem leaves. Each bite of neem tested my resolve, pushing my boundaries and connecting with nature's raw essence, symbolizing resilience and our bond with the environment. I also balanced the earth on my head, embodying a grounding force by planting neem plants and incorporating an animal skull. The performance explored themes of life, death, and the cyclical nature of existence, encouraging reflection on our interconnectedness with the natural world.

The atmosphere was electric as I practised polyphonic ventriloquism, filling the space with a chorus of voices. The students eagerly joined in, their melodies blending with the rhythmic processing of neem leaves. The spectators' intense expressions revealed profound emotions. This captivating action engaged in emotional exchanges that resonated with everyone present.

The experience was metaphorical and shamanic, highlighting the land's voices and connection to nature and all living beings. With the sound of a cow in the background, the performance combined sensory elements like sound and food, using a poetic approach to convey themes of existential tension, struggle, survival, and interdependence.

The performance highlighted the importance of connecting with the land, rituals, culture, and traditions while exploring shamanic and spiritual connections that transform the experience into a therapeutic practice.

The discourse on Post-Human invites a critical examination of the concept. I argue for a reconnection with fundamental human nature, emphasizing the importance of compassion and humility towards all living beings. We live in an era characterized by a disconnection from nature. It is essential to foster a strong connection between technological advancements and our environment, as technology contributes to this separation. Shamanic rituals provide therapeutic experiences, and after a recent engagement at Utkal University, participants shared their gratitude and reflections, allowing for meaningful interaction.

The student sang this song during the performance.

The Reddish Soil Road leading from the Village

has made my Mind get lost far far away

গ্রামছাড়া ঐ রাঙা মাটির পথ আমার মন ভুলায় রে ।

ওরে কার পানে মন হাত বাড়িয়ে লুটিয়ে যায় ধুলায় রে ॥১॥

Graam-Chaarraa Ai Raangaa Maattir Path Aamaar Man Bhulaayye Re |

Ore Kaar Paane Mon Haat Baarriyye Luttiyye Jaayye Dhulaayye Re ||1||

Meaning:

1.1: The Reddish Soil Road leading from the Village has made my Mind get lost far far away,

1.2: Oh! Towards whom has my Mind stretched out its hands and then rolled down on the Dust?

ও যে আমায় ঘরের বাহির করে, পায়ে_পায়ে পায়ে ধরে _

ও যে কেড়ে আমায় নিয়ে যায় রে যায় রে কোন্ চুলায়ে রে ।

ও যে কোন্ বাঁকে কী ধন দেখাবে, কোন্‌খানে কী দায় ঠেকাবে _

কোথায় গিয়ে শেষ মেলে যে ভেবেই না কুলায় রে ॥২॥

O Je Aamaayye Gharer Baahir Kare, Paayye_Paayye Paayye Dhore _

O Je Kerre Aamaayye Niyye Jaayya Re Jaayya Re Kon Culaayye Re |

O Je Kon Baake Kii Dhon Dekhaabe, Konkhaane Kii Daayye Tthekaabe _

Kothaayye Giyye Shess Mele Je Bhebei Naa Kulaayya Re ||2||

Meaning:

2.1: Oh! It has made me go Out of my Home, by holding each Step of my Feet, ...

2.2: ... and taking me away forcefully, is leading me to which unknown Place I know not,

3.1: Oh! What Treasure will it show me in which Turn, and what Obstacle will it pose in which Place, ...

3.2: ... and where will it end, I cannot think it out, I cannot think it out,

The Reddish Soil Road leading from the Village has made my Mind get lost far away.

Dimple B Shah 29th Dec 2024

Photo Courtesy Post Human Team

The Songs of Seven Mountains

Baguashan Power Art Festival 2024 curated by Yujun Ye

 (Cheung Ji Hall Jinguashih, Ruifang District, New Taipei City, Taiwan.

The Songs of Seven Mountains was about the Jinguashih mountains and the protector of the Land (Cheung Ji Hall Jinguashih, Ruifang District, New Taipei City, Taiwan.

I spent two hours at the temple site, contemplating and envisioning the night before the performance for the next day's event. The site featured five murals that depicted the story of a general who protected the mountains and people. Nestled amidst the breathtaking mountain- The Cheun Ji Hall temple (stands as a tribute) to the revered guardian of the mountains. Its serene presence invites visitors to explore the rich spiritual heritage and connect with the majestic natural surroundings. I followed the fey signs represented by wrapped cloth bags in the murals and by the statue on the right, which also held a wrapped cloth. The temple was surrounded by mountains and inhabited by various plants and living beings. The night landscape appeared beautiful as I immersed myself in these elements, and The true nature of my connections would unfold during the performance.

Eventually, the other day, I chose to use a branch for my performance, so I searched for a long time until I found the perfect one. Daisuke Takeya helped me locate some branches behind the car. I chose the first branch I collected and placed it in the temple complex. However, the woman who cleans the temple complex removed it and tossed it into the bushes. With effort, we managed to retrieve it and return it to the temple complex, but unfortunately, someone threw it far away again. Eventually, we found another branch. I had to make some compromises and use this one instead. It did not fit properly on my head, and I struggled to balance it, but I had to make do with what I had. I began by performing a small ritual outside the temple complex. I walked while balancing a branch on my head, entering the temple grounds, standing near each mural and aligning with the mountains to perform the ritual. The wood branch I used looked exceptional, with one green leaf still attached, symbolizing the presence of life. I marked the ground with a square with the scared ashes metaphorically representing the universe and the four directions. Inside the square, I placed five silver Sun Coins, Five silver moon coins, and copper footprint sheet coins that symbolically represented the day/night cycle and resonated with nature and my surroundings. I performed a ritualistic action by showing a mirror to the protector of the land. This act symbolically revealed the beauty within oneself and reflected its light.

I possess a profound awareness of emotions and feelings, and my experiences during the trip visits to temples and historical sites significantly influenced my experience throughout Taiwan. Each site offered a distinctive perspective that enriched my understanding of the cultural and spiritual dimensions of the region. My presence and movements guided the entire journey and the experiences that involved rituals that celebrated the land of Formosa. I had no control over this experience. This journey metamorphosed into a shamanic pilgrimage for me; subconsciously, I felt directed and guided to perform as a priest at the festival.

Dimple B Shah

21 November 2024

Aligning to the Axis-Striking a Conversation

6th Baguashan Powerart Performance Festival, Changua Taiwan,

Curated by Yujun Ye

In front of Longshan Temple Taipei

5th November 2024

The third performance was in the vibrant setting of Longshan Temple in Taipei, a place steeped in rich history and cultural significance. Upon our arrival in Taipei, we immediately made our way to this iconic landmark renowned for its stunning and intricate architecture. The Longshan Temple is not just a feast for the eyes; it serves as a spiritual haven for many, housing a variety of deities that are revered by devotees. Among them are the God of Knowledge, sought after by students and scholars alike The God of Love, who attracts those seeking romantic connections, and the revered Machu Goddess, believed to protect the wellbeing of women. The atmosphere was electric as we prepared for the performance, surrounded by the incense-laden air and the soft sounds of prayers and offerings echoing throughout the temple grounds.

The atmosphere in front of Longshan Temple was filled with a vibrant mix of energy and contemplation, creating a unique space that felt expansive and intimate. A large audience had gathered, their varied expressions and movements adding to the lively scene. From my vantage point, I could stand a short distance away and still catch glimpses of the intricate details of the temple's interior through its ornate doorways. The sunlight filtered through the trees, casting gentle shadows on the ground, while the scent of incense drifted softly through the air.

Inspired by the moment, an idea began to take root in my mind: the urge to perform was irresistible. I imagined a conversation unfolding, one that would resonate with the spirit of the temple and engage the crowd around me. It felt like a calling, an opportunity to connect with the sacred space and the myriad of souls who had come to experience it. In this performance piece, I embarked on a journey of deep self-exploration and connection, utilizing a dialogue that wove together elements of intimate conversation and poetic expression reminiscent of shaman practices. This approach aligned with the rituals and customs deeply rooted in my culture.

To initiate the creation, I envisioned using a vibrant red cloth, symbolizing vitality and spirituality, which I manipulated to take on the form of a temple head. This act of formation symbolized my intention to manifest the body as a temple. For me, it was essential to intertwine the essence of the human body with that of a sacred space, aligning it with an imaginary Axis to facilitate a dialogue with what I envisioned as the opposite temple—a mirror of my being.

As I engaged in this performance action, I felt transported into a trance-like state. The rhythm of my movements, guided by the flowing cloth and illuminated by the soft glow of a traditional Chinese lamp, created a surreal atmosphere. It felt like I was beckoning divine energies, reaching out beyond the confines of my physical space, inviting the goddesses to partake in this sacred conversation.

Throughout this experience, I focused my gaze on the centre of the temple I had created. This focal point became a source of intense concentration, enabling me to channel my thoughts, body, and spirit into a singular purpose. The performance unfolded in a public space, yet it generated a unique and personal energy, isolating me in a bubble of profound introspection. The alignment I achieved granted me a sense of clarity and openness, enabling me to truly immerse myself in a trance-like state, where the boundaries between the sacred and the every day began to dissolve.

Describing this piece proves to be a challenge; it existed in a realm beyond words, a vivid blend of physicality and spirituality that transcended the space it occupied, echoing the deep connections between mind, body, and the universe.

Dimple B Shah 

5th November 2024

The Land of Formosa- Prayer for People and Dreams

6th Baguashan Powerart Performance Festival, Changua Taiwan,

Curated by Yujun Ye

27th October 2024

@Changhua Nanguokeng Riverside Plaza (Changhua Arts High School Third Campus), kaobinge

The second performance was on the next day. I prepared a structure with four sides using branches and rope to hold onto the text on the cloth. The performance resonated with the land of Changhua, Taiwan. It started with a vision to grasp the land with four words describing people and land.

 The land of Formosa,

The four-direction spirits represent four side temples in Changhua city and the cardinal four-direction.

The land of Bagushan Buddha (Big Buddha)

The Prayer from the Machu goddess temple in the Glass factory

These words are structured and serve as a foundation for the land and its people. The primary challenge was translating this message into Mandarin Chinese and having it on white cloth. I approached Ting Yung Chang for assistance, and she quickly helped me with the translation.

 

 

The upcoming challenge was to design a sculptural structure, and I couldn't help but feel a wave of excitement mixed with apprehension. With the clock ticking down, the pressure was on to transform our ideas into something truly captivating in a limited timeframe. I spent the morning preparing, and after giving a talk on ecology and art practice, I hurried to start working on my sculpture. Surprisingly, I noticed the text was ready on four long pieces of clothes written magically and placed on a chair. I later learned that the artist and designer, Zoey Wu, created it. It was my first encounter with her, and I felt overwhelmed.

As I was constructing the sculpture, although it seemed like an impossible task, I told someone that I had faith it would happen and did not know how it turned out to be true.

The performance started as planned, featuring a sculptural headdress symbolizing the land and its spirits. I walked toward a separate space, passing through a miniature replica of a military building. I invited people to write messages for their ancestors, friends, or loved ones who belonged to this land and foreign lands. The Messages were in Mandarin Chinese, which I could not understand. Later, I asked the audience to paste these messages onto my body, and I concluded my performance by offering a prayer for the land and its people.

Dimple B Shah 27th October 2024 

Embracing the Light

6th Baguashan Powerart Performance Festival, Changua Taiwan,

Curated by Yujun Ye

26th October 2024

@Changhua Nanguokeng Riverside Plaza (Changhua Arts High School Third Campus), kaobinge

The performance was second among the performance rituals, following the drum performance. YuJun Ye, the curator of the festival, had requested an opening ritual to set the tone for the celebration. After careful contemplation and deep reflection, I considered how to foster a meaningful connection between the audience and the space. A vision began to crystallize in my mind. This vision was a vast open space illuminated by radiant light, symbolizing hope and possibility. It was an image that resonated with the spirit of the festival and the shared human experience, aiming to evoke a sense of unity and inspiration among everyone present.

The concept behind this opening ritual performance was to evoke feelings of light, consciousness, positivity, hope, and a therapeutic essence within the audience. To set the tone, I began my performance by balancing a large mirror atop my head, each careful step imbued with intention. My face was adorned with several smaller mirrors meticulously attached to ribbon strips, creating a collage of reflections.

As I moved slowly forward, the mirrors sparkled, capturing and reflecting whatever light was available, creating a shimmering effect that metaphorically conveyed themes of hope, trust, and the vibrancy of life itself. Each movement was curated to resonate with Nature around me—the trees, the sky, and even the fleeting rays of the sun that struggled to break through the grey, cloudy atmosphere. 

Despite the lack of bright sunlight and the dreary, overcast backdrop that enveloped us, I sought to communicate a message of inner light. The subdued environment prevented me from using the mirrors to effectively pass on the light to the audience as initially envisioned, but instead, it invited a deeper exploration of the concept that, even in the darkness, hope and positivity can still thrive. My performance became an embodiment of that belief as I invited the audience to reflect on their inner light amidst the cloudy exterior. 

Standing at the centre of the gathering, I could feel the atmosphere charged with anticipation, urging everyone toward a moment of profound connection. This ritual moment commanded my attention, drawing me into a meditative state where I connected deeply with the energy surrounding us all. I purposefully advanced toward the stage, holding Vibhuti, the sacred ash, firmly in my hand. With a decisive motion, I scattered the ash into the air, releasing its strong aroma and instilling a profound sense of calm among the crowd.

As I approached the audience, I distributed portions of the Vibhuti along with small round mirrors, determined to symbolize the transfer of light to each individual. Unfortunately, the overcast sky obscured the sun, preventing it from illuminating the mirrors as I had intended. However, this did not deter me; I clearly articulated my message about embracing our inner light, regardless of external conditions.

The audience responded with enthusiasm, their greetings energizing the moment. This connection reminded us of our collective journey, illuminated by the deliberate act of sharing light.

"Embracing the Light" is a powerful ritual performance that boldly conveys the concept of light, hope, and the invigorating power of life as we forge towards a brighter future. This performance is a deliberate initiative to establish respect and understanding among diverse cultures.

I firmly integrate elements from my Indian heritage, using ashes to symbolize renewal and mirrors to reflect our shared humanity. The distinct movements, chants, and offerings honour my cultural traditions and create a dynamic space for meaningful dialogue and connection. 

This performance serves as an artistic expression, a call to action to forge connections between cultures. By honouring individual identities, we can collectively embark on a transformative journey toward unity in our increasingly interconnected world.

Dimple B Shah 

26th October 2024 

Negotiating Spirituality – Path of Jina

10th August 2024, Pateras Club Studio Nakhon Si Thammarat, Thailand

Blur Border Performance Art  Exchange 2024 

organized and curated by
Mongkol Plienbangchang and Aor Nopawan

Photography by 

Apisak Ratchakwan

This performance in Thailand was the fourth one. This work took shape after delving deep into a rich tapestry of life and culture of Thailand. It continued my search to understand spirituality and its impact on the far regions in Thailand and the far southeast. It involved intense study of the people, their faith, and their culture. The mesmerizing gold Buddhist statues in Nakhon Si Thammarat stirred deep emotions within me. The golden Buddha statues at the city temple and the numerous small statues in the museum resonated strongly in my mind. The glittering bronze sheets in my artwork metaphorically and poetically represent these statues.

 I've been exploring the various ways in which people express their spiritual beliefs. Cultures and emotional, psychological, and spiritual interpretations of religious faith vary across cultural dimensions. What ties these core beliefs together if they are different from each other? This inquiry delves into deeper levels of understanding.

As I worked with the brass sheets, I noticed how the sounds they produced influenced my state of mind. I carefully prepared the sheets by treating them with salt, which added an intriguing dimension to my artistic process. I invite the audience to participate by creating their internal representation of Buddha. The search for their otherness is the Buddha within.

Few participants were unwilling or did not comprehend. After some interactions, they moulded the dough into a Buddha and placed it in the centre. The concept was to delve into their methods of capturing the essence of Buddha through their unique shapes and forms.

 Later, when I was alone, I took action that represented my face, expressing doubt and a metaphoric search for Buddha. I tried to capture an impression of my face on a bronze surface, aiming to symbolize my personal and shared quest for enlightenment about Buddha.

This performance was an intentionally complex and multilayered response to society. It was not just an attempt to understand spirituality in a different land. The performance was captivating, delivering flawlessly and reflecting the emotive responses with power and grace.

Dimple B Shah  10th August 2024