Visiting from Fremont, CA, Ishami Dance Company presents “Pehchaan” (Identity) at Greenhouse Theater Center, March 7-8. The company is a fusion of South Asian traditional and contemporary dance and other styles—modern, jazz and hip hop—featuring choreography by co-founders Ishika Seth and Amit Patel, with Akhil Joondeph, Drasti Mody and others. “Pehchaan” weaves together themes of expressing identity, spiritual life, social order and stratification, and concludes with a call for radical and revolutionary change. Lighting design by Colin Johnson, original musical compositions and live performance by Grammy nominated artist Annette Philip (Zahara) and support from Mandala South Asian Performing Arts helped bring this thrilling program to life in Chicago.
"Unbound," with Amita Batra and Zahara; Photo by Rob Kunkle (Goodlux Photography)
Expressions of identity in “Pehchaan” are universal but also specific to the lived experience of South Asian people. In “Origins,” the question is asked, “What’s In A Name?” Dancers in relaxed wear show two sides of themselves, standing in a circle and turning front to back like swinging saloon doors, a reference to how South Asians living in the West must choose between constant mispronunciation of their names by English speakers, or make the decision to adopt Western names. Is a name that important? Perhaps it is! The dancers break free from their spinning stupor, fan out, become lost in their own worlds. No two the same, they create large, angular shapes with their bodies that fit together like a complete puzzle but with space between the pieces.
Identity is further explored in “Roots and Rhythms,” which begins with dancers performing in traditional South Asian dance styles, like Bharatanatyam. But Western styles start to creep in—an arabesque here, a barrel turn there… What doesn’t waver is the superb storytelling indicative to South Asian dance as a group of hunters draw their invisible weapons while their feet pound the ground in rhythm with the music. The piece culminates in a complete change of tone as dancers Akshay Radia and Saffatt Al-Mansoor engage in a “conversation,” a one-on-one hip hop battle featuring locking, breakdancing and more. Did the transition from classical to modern dance forms wipe away the dancers’ sense of identity? Not at all. Instead, the dancers infused the latter forms with their own unique backgrounds, creating a vibrant synthesis of style.
"Homelands," with Ishami Dance Company; Photo by Rob Kunkle (Goodlux Photography)
“Homelands” and “Unsung” address social stratification, two stories both equally heartbreaking and hopeful. In “Homelands,” a caravan of immigrants walks with small steps. An old woman collapses. A couple people break down in despair. One by one they discard a cherished possession—various types of clothing and a religious icon—metaphors for the lives they leave behind. But hope springs from the wings as a wandering youth (Joondeph) rediscovers these artifacts and reconnects with a heritage that once seemed distant. “Homelands” is a message of hope that one’s culture can never be destroyed if people keep it in their hearts, and even if you can’t return to the way things were that there is still a path forward.
"Mohabbat," with Akhil Joondeph and Amit Patel; Photo by Rob Kunkle (Goodlux Photography)
In “Unsung,” the day-to-day lives of women. Five women carry silver pots on their heads while dancing a lively peasant dance—or should we say proletariat dance? When the working day is done, they gather in groups and share tips on applying makeup, a mundane activity made fascinating using Bharatanatyam-inspired hand gestures. The women devolve from happy to miserable, and the work culminates in a duet featuring Seth and Amita Batra acting as static mannequins come to life, clawing at the air then settling together, falling into long, fluid rolls and matching each other’s rhythm. The tribulations of South Asian immigrants and women are presented as both geographically distinct but also ubiquitous to women of the world.
A call for radical, revolutionary change appears in “Unbound” and “Khwaab” (Dream). The former is a rebellion against societal norms, featuring five dancers, men and women, dressed in sexy black outfits, with shoulders, chests and midriffs exposed. Despite India and surrounding nations being generally conservative, their dance forms are capable of being highly erotic. The work leans into this eroticism through gyrating hips and slow, ascending body rolls, technical moves but with hints of social club dance and Waaking. In “Khwaab,” the large ensemble takes the stage dressed in bright white costumes with two layers of fabric that fan out during turns and create an intense visual spectacle. This is a vision of the future, people dancing together united in the spirit of joy and without conflict—a beautiful sight!
The term “fusion” is thrown around a lot, but the work in "Pehchaan" are the real deal. The diverse styles of several continents are adeptly combined, separated and mixed together again with grace and aplomb—there’s even a vocal/dance duet between Zahara and Batra, with the dance embodying the lyrics and the vocalist themselves incorporating complimentary choreography without missing a beat. If you missed them this time, put them on your radar now, and catch Ishami Dance Company the next time they blow through the Windy City.
Ishami Dance Company presents “Pehchaan” (Identity) from March 7-8 at Greenhouse Theater Center, 2257 N. Lincoln. For more information, click the company link below.