Mishra in reviews China in reviews more Rachael Jefferson-Buchanan reviews

The origins of Flamenco are obscure, but it has been suggested that this passionate and flamboyant dance genre developed in the Southern province of Andalusia with gypsies who travelled from India and Pakistan via Egypt. I began to piece the jigsaw puzzle together. If the roots of Flamenco were in Khatak dance, then these two genres would surely share similar elements… I was soon to understand…

The performance began with several Khatak solos by Mishra. Khatak, which means storyteller, is derived from Katha or story. During ancient times, groups of Kathaks allegedly roved around the country recounting the epics and myths through poetry, music and dance. “He’s got rubber arms” one of the spectators whispered to me… and Mishra’s arms did indeed seem to move with such fluidity and subtlety that it was hard to believe they were actually made of flesh. But perhaps the most interesting aspect for me was the rhythmic and percussive patterns that existed simultaneously through four different areas of Mishra’s body. Not only were his feet tapping out strong syncopations and his hips and belly performing incessant vibrations and rotations. His hands and arms also floated, dipped and dived through light, fluid undulations, which seemed to echo the singer’s melodies. And finally there were his facial expressions and gestures… in effect, his body parts seemed to be conversing with one another, all the while Mishra himself was in constant verbal dialogue with the live musicians. This was one co-ordinated individual, who succeeded in capturing the audience with his superb dancing abilities and strong stage presence.

The dramatic entrance of Ana La China marked the beginning of the Flamenco section of the dance. Like a charging bull she raced onto the scene from stage left, with arms held powerfully behind her arching torso, and her long hair flowing. Her energy and vibrancy filled the stage and the flamenco accompanists complemented her first solos with a beauty unparalleled. It is difficult to believe that any of this relationship between dancer and musician is improvised, considering the professional quality of the piece. Yet improvisation between dancer and musician - and within each dance section - is regularly practised, although it was clear to see that the core elements of the dance were exquisitely and painstakingly choreographed.

In both Flamenco and Khatak dance, sophisticated footwork creates rhythmic patterns, and the dance itself acts as percussion. When the two soloists began to interrelate this was indeed clearly visible. The audience began to respect the cultural differences between the two styles, while simultaneously beginning to enjoy the similarities. The two dance genres initially seemed so distinct, and they were presented as such during the beginning phases of the performance. However, the cultural boundaries surrounding the genres progressively began to dissolve, as the dancers themselves began to respond to one another. At first they conversed in their discrete body languages, but soon their shared passion united them, and even delicate shoulder, arm and hand gestures began to bear resemblance. The dancers separated and then merged together as one, and everything began to fall into place. From just this one spectacular and dynamic performance, my knowledge and understanding of these two dance genres were enriched, and I have since gained a greater respect for the cultural origins of each.

There is much to learn and enjoy about professional dance performances such as this; they give us a glimpse into the illusory performing arts world, and for a brief moment we leave reality behind in the theatre foyer. I will warmly remember this Khatak and Flamenco performance for many years to come, and will be watching eagerly to see what these two dancers will offer us next.