dance review - used a range of props graffiti plastic type...

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Hasmi Patel Section #2 A group of talented women, dressed in simple outfits, completely broke down Bharat Natyam and used a dance form most closely related to it, Odissi. Anayana Dance Theater made one distinct sound with their feet that could be heard above anything else. The dancers created a feeling of fear and seriousness from their expressions and abrupt foot movements. The movements the group generated in “Pipaasha, Extreme Thirst,” raised environmental awareness regarding “arsenic poisoning, industrial dumping, and other phenomena that have resulted from environmental racism” (Program 1). The music varied from the simple sound of electricity in the beginning to meditative music towards the end. The dancers were sometimes with the beat of the music and other times a second or two off. Various styles of formations were used. At times the dancers formed a circle, line, or “V”. The lighting also contributed to the terrified feeling by becoming dim at times and other times completely off. The dancers
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Unformatted text preview: used a range of props: graffiti, plastic type rope, and a form of light in a huge bowl to help the audience understand their message. The performers applied floor space and levels when they formed cannons. The women showed versatility and diverse forms of effort by picking other dancers up, dragging another dancer across the stage, or by forming different shape with other dancers. They moved in lines, circles, and even diagonals. Choreographer, Anayana Chatterjea uses a variety of techniques to spread the message or environmental injustice. The use of Odissi and yoga showed the flexibility and strength of the dancers. Frequently, the dancers moved in unison and then smoothly transitioned into a cannon or solo. Chatterjea put emphasis on the sound of the stomping of feet. Ultimately, the dance offered the audience a view of social discrimination by illustrating scenes of frustration, struggle, and hope in its dancers....
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