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 

An Article on Performance Art - Mapping Namma Uru -487 Years

An Art Review on Performance Art 

Mapping Namma Uru- 487 years

 Organized by the National Gallery of Modern Arts Bengaluru
in collaboration with Ananya Drishya on 27th September 2024

by

 Jyoti C Singh Deo
Art and Design Dimensions

The Alchemy of Air, Water and Strom and Me

Blur Borders International Performance Art Exchange 2024

6th August 2024 : 2nd-day @Talumpuk Cape, Nakhon Si Thammarat.Thailand 

organized and curated by
Mongkol Plienbangchang and Aor Nopawan

Photography by 

Apisak Ratchakwan

Doudwang

photo modification  by 

Ender Rodriguez

This performance was at the seaside, a beautiful spot where the land shaped in a triangular edge connects to the sea. The team told us that there were many mosquitos on the beach. We had the honour of meeting the mayor of the Nkhom si Thimmarat, along with an inspiring environmentalist couple who are passionately dedicated to their buffalo farm. We went in the mayor's car to see the beach spot where we had to perform. It was afternoon, Sun was sharp. We had to choose our spots and think about our actions.

I went around the beach area. I came across many seashells and a tree branch, so I collected them and chose a spot for the performance. The next day, we had a performance in the evening. I spent time deciding what to wear and preparing my props, which included branches and tying all the collected shells. This time, we were in a different hotel where they warned us to be careful of snakes. I also sewed a flag for my performance. On the day of the performance, the program had two parts. First, there were two performances, followed by a long lunch break, during which we were eager to perform.

The second half started, and my turn was 8th. Suddenly, the weather changed when it was my turn to perform; it was stormy and windy with heavy rains. The curator, Aor Nopawan, asked if I still wanted to perform in the rain Since the photographers would not be able to"document the performances due to the heavy rains. I was restless and desperate to perform in the sea, but despite the chaos and stress, I was determined to go to sea. The sea was calling, and I couldn't hold back any longer. It was intense with the strong rains and wind, making it difficult to control the elements.

 

I was there in the sea, waving a flag and balloon tied to my branches, dancing in the wind. The experience was powerful, and I felt small in front of nature. The alchemy of air, water, and storm created a unique and magical environment. These conditions and situations are rare, and even if artists ask for them, they cannot replicate the power of nature. I merged into the environment, still playing my mouth instruments and communicating with the universe. Words cannot describe how wonderful that moment was. I wish I were a writer. It is difficult to capture the transformative power of nature when humans are small in comparison. I felt like I was still a part of it all. The emotions were overwhelming and intense. The photographers who were brave enough to capture me in that rain - I'm so grateful to them for allowing me to share pictures of that incredible moment. The action was an attempt to give back the objects given by sea to us, the sea shells and things I had collected from the beachside, the balance of aspiration, hope and life in the heavy tides of a storm.

Dimple B Shah

In Search of Siam (Suvarnabhumi - The land of Gold)

Blur Borders International Performance Art Exchange 2024

3 August : 1st day @Talenoi Phattalung,Thailand 

organized and curated by
Mongkol Plienbangchang and Aor Nopawan

Photography by 

Apisak Ratchakwan

In Search of Siam (Survanabhumi – The Land of Gold): This First Performance in Thailand. It was in response to the old name of Thailand, Siam. The term Siam (Thai: สยาม RTGS: Sayam) might have come from Pali (suvaṇṇabhūmi, meaning land of gold), Sanskrit श्याम (śyāma, meaning -dark), or Mon (rhmañña, meaning stranger), possibly having the same root as Shan and Ahom.

As I researched Thailand, I was inspired and drawn to the historical significance of the temple, space objects and things that resonated with my subconscious mind. A vision of objects and connections started creating sequences and scenes in my mind like a film reel. Gradually, I developed my work by learning and observing the wetland, a beautiful green zone in small segments of the island. The environment was very similar to the Kerala backwaters.

 On the first day, we went on a tour in a small boat. On the way, we saw a large fishing structure made of bamboo. The landscape transformed with the first ray of sunlight, and this beautiful bamboo structure sometimes looked like an animal walking on water. Still, the morning image is fresh in my mind. We came across people fishing, floating rice fields, beautiful lotus fields, and the island site where we had to perform.

Upon first glance, the site and the water seemed fantastic. Numerous images of potential actions flooded my mind. The challenge lay in figuring out how to transport the materials. With this in mind, I began collecting bamboo. I stumbled upon many bamboo sticks on the ground and noticed several other artists working and gathering bamboo. At first, I considered abandoning the idea. However, I started to rethink the possibilities. I chose a location for my performance. Later, we returned to the hotel room and found ourselves in a cozy, beautiful wooden room filled with wonderful memories of the day trip and the experience of the lotus field. 

At night, the phrase 'Siam', lotus fields and fishing structure strongly resonated with me, and I performed In Search of Siam (Suvannabhoomi - The Land of Gold). The passage explores the origins of the term 'Siam' and its possible connections to India and the Prakrit language. It also discusses the metaphorical interpretation of "Shyam" (Krishna) and its association with the colour blue. Metaphorically and poetically, it was an attempt to reimage and touch upon the idea of the imagination of people of the land, Siam people arriving via a sea route.

I want to call out to the name Siam, the Dark/ Krishna and the people of Thailand. Many thoughts echoed in my mind simultaneously. It might have created a response from an audience trying to connect and understand my performance. It was strange that many locals needed to learn the history of Siam in Thailand. Is the young generation cut from the past? I wonder why they cut off or were just ignorant of the history of Thailand. There are a lot of trade and cultural connections between Thailand and India. I tried to reestablish it through my actions.

Dimple B Shah Performed on 3 August 2024 1st day @Talenoi Phattalung