Keeping His Shirt On

Pichet Klunchun and Myself is not a conventional sight. “There are two people on stage,Pichet Klunchun and me,” explains Bel,“We are re-staging the first meeting we had a few years ago in Bangkok.” There are no props,costume and special effects,in keeping with Bel’s signature style of minimalism. Critics have commended the “astonishing simplicity” of the piece. Although Bel’s works have involved collaborations with many dancers and choreographers,this one,with classical Thai dancer Pichet Klunchun,has been performed for more than eight years. A Routes Princess Margriet Award (for cultural diversity by European Cultural Foundation) has capped the critical acclaim for Pichet Klunchun and Myself.

Combining dance with elements of theatre,the performance will have the dancers discussing their respective arts and demonstrating it as well. “Initially,we thought that this format wouldn’t interest anybody. Who cares about this kind of thing? But now,it has been so many years and we are still showing this piece around the world,” says Bel. He is confident that Klunchun’s piece based on the Ramayana will strike the right chord with the audience.

For someone who has been criticised and even sued for his works,Bel holds unbound passion for choreography,especially Indian. He has worked with Bharatanatyam dancer Priyadarshini Govind,and spent time imbibing Indian nuances in Bangalore in 2006. “I am very attentive to what happens in India in contemporary dance. I am close to many choreographers. With such a vast theatrical and dance tradition,India should keep evolving by finding new forms of expressions,in relation to today’s realities,” he says. Then he adds reassuringly that there will be no nudity on the Indian stage. And the dancers will keep their shirts on.

Pichet Klunchun and Myself will be staged at November 2 and 4 at ML Bhartia Auditorium,Alliance Francaise de Delhi,at 7 pm.