In judgement of dance
SEPTEMBER 07, 2018 16:57 IST
Early this year, Aseng Borang, a contemporary dancer from Arunachal Pradesh, immersed herself in newspaper articles about the Northeast for two whole months. “Across all the reports, there was a common set of words that kept jumping out — restriction, limitation, closed, shut, oppressed... You get the picture,” says the 25-year-old, who lives in Delhi. The recurring motif became the starting point for her work, Erosion of Tangko. “I simply let my body respond to the use of these words, allowing the movements to become a metaphor for a larger idea that concerns how a body that is subjugated to so much bigotry actually reacts,” she explains.
In judgement of dance
SEPTEMBER 07, 2018 16:57 IST
Early this year, Aseng Borang, a contemporary dancer from Arunachal Pradesh, immersed herself in newspaper articles about the Northeast for two whole months. “Across all the reports, there was a common set of words that kept jumping out — restriction, limitation, closed, shut, oppressed... You get the picture,” says the 25-year-old, who lives in Delhi. The recurring motif became the starting point for her work, Erosion of Tangko. “I simply let my body respond to the use of these words, allowing the movements to become a metaphor for a larger idea that concerns how a body that is subjugated to so much bigotry actually reacts,” she explains.
Taking steps for pain
SEPTEMBER 07,2019
Amidst the chiaroscuro lighting on the stage, is a dancer, his form hidden in the shadows and facing the audience.
The performance is titled ‘Erosion of Tangko’, which depicts the micro-aggressive transgressions against the marginalised tribes of India and their physically and psychological effects. The act was the winning entry at the fourth edition of the Prakriti Excellence in Contemporary Dance Awards (PECDA) held at the Museum Theatre in Chennai from August 28-30.
Institutions romanticizing dance has been disastrous for the dance ecology: Aseng Borang
A dance practitioner, choreographer, and performer, Aseng Borang, is seeking to explore various forms of bigotry a body is subjugated to through her latest work, which is still-in-progress. However, she is constantly engaged in the pursuit to investigate how contemporary dance forms are changing. With an academic approach towards choreography (she is pursuing her master’s degree in Performance Practice (Dance) from Ambedkar University), she unleashes a scathing critique on dance institutions that have “romanticized dance”. Aseng was recently awarded the Serendipity Arts Foundation Grant (travel) for performing arts – choreography.
Dancing Through Walls (Episode 9)
JULY 31, 2021
Dancing Through Walls is a video podcast where we share experiences, stories, and questions surrounding the worlds of dance and art. The show is hosted by 206 Dance Collective members Joshua Sailo and Ainesh Madan.
Reflecting on sustained growth and maturity in their artistic practices, Joshua and Ainesh recognise the importance of peer mentorship. They give honour to their teachers and mentors by sharing the valuable lessons that have guided them along their individual journeys. Guest artist, Aseng Borang, candidly contributes her experiences and influences, unveiling the multiple facets of a dancer beyond the ‘performer identity’.
Performance as Process Residency
Delfina Foundation, London
In autumn 2023, Delfina Foundation reactivated its periodic theme, Performance as Process. In its fifth iteration, this season draws on the culture and methodology of the cypher. Bringing together eight artists whose practices engage with performance – from Brazil, China, Hong Kong, India, Kenya, Kyrgyzstan, the Netherlands, Vietnam, alongside two London-based practitioners – the residency and emergent public programme seek to operate as cyphers: a space of incubation, generation, exchange, and collectivity. Whilst promoting individual growth, this approach attempts to weave together supportive and fluid social structures – conducive to deeper connections and resonance.
The participation of Aseng Borang in Performance as Process was made possible through the support of INLAKS, Emami Art Foundation and Charles Wallace Trust India.