Asian Art Museum explores dance beyond Bollywood

Some 2,000 years before ‘RRR’, the Indian film that won an Oscar in 2023 for its fiery anthem and dance, South Asians, Southeast Asians and people from the Himalayan region were reveling of the power of dance.

“Beyond Bollywood: 2000 Years of Dance in Art,” on view at the Asian American Museum in San Francisco through July, explores the role of dance in the culture of the greater region.

In the exhibition of more than 100 works (ancient and modern sculpture, painting, textiles, jewelry, photographs, video) on loan from 25 international museums and private collections, visitors are led through five thematic sections, each devoted to a different role. played through dance over the centuries, each with a single piece as their primary focus.

South and Southeast Asian art abounds with images of dancing gods, whether Shiva, Krishna or elephant-headed Ganesha; they all dance with fluidity and grace, bending one raised knee to the body, flexing one wrist and bowing the head.

The first section, “Destruction and Creation”, features “Shiva Nataraja, the lord of the dance”, one of the best-known Indian works of art, dating from 1125-1175 CE Shiva dances in a circle, his four arms and his two legs touching his circumference, his right foot resting on a horizontal figure, interpreted as ignorance, which the god is crushing. Although the work was created for worship and not for aesthetic pleasure, the graceful, self-contained beauty of the lithe god is spiritually remarkable and pleasing to the eye for contemporary audiences.

This section includes later depictions of Shiva, as well as images of the Buddhist female deity, Vajravarahi, whose great beauty belies her fierce nature. In its golden form, dating from 1300, it balances on an arched foot, legs bent at the knee, right arm raised, left resting on the belly, a striking image of graceful balance. But, known as “Lightning Sow”, she frequents the cremation ground, carrying a circlet of skulls, made up of psychological poisons that meditation can transform into wisdom.

The second section is ‘Devotion’, interpreted as the mutual love and desire between gods and devotees, known as ‘bhakti’.

This principle is embodied in works of art depicting Krishna dancing with a group of female cowherds in a circle of divine bliss. According to one account of the story, Krishna, dressed as a cowherd, played the flute, attracting all female cowherds, who abandoned their families and joined him, transcending all earthly ties. Many interpretations of the ecstatic scene are on display, set in various locations, often painted on cotton with watercolours, gold and silver or on paper.

“Subjugation” is the theme of the third section, based on the concept of gods dominating figures of evil or chaos through movement and, in doing so, restoring universal order. An amazing visualization of the concept is “Hevajra and his dancing wife”, a stone sculpture dating from 1100-1200. The multi-headed, multi-limbed god is depicted with his consort with both feet planted on images of negative forces in the universe, subduing them.

Another depiction of subjugation is a bronze sculpture of Hevajra, from approximately the same period, dancing atop a demon.

Elaborate mandalas depict similar scenes. Images of the Balinese Exorcist Dance, including photographs by American social realist artist Ben Shahn, taken in 1969, are also featured in this section.

“Glorification,” referring to performances that honor gods and kings, is the subject of the fourth section. Much of the art here takes place in regal venues, with architectural backdrops and crowds of musicians and spectators. Stone relief carvings depict dancers, often with musicians, and sometimes accompanying gods. Two large, eye-catching Burmese mythical birds in lacquered wood are adorned with gold leaf and glass stones.

A 2012 film (shown on three screens) titled “I Saw a God Dance II” explores the life of famous Burmese dancer, Ram Gopal, through found footage of the artist preparing for his performance. Filmmaker Ayisha Abraham intercuts narration, ambient sound and scenes from Gopal’s performance to give another angle to Burmese dance.

“Glorification” also includes monumental paintings of a dance drama, defined as a “circular dance of divine love” performed annually for nobility and numerous photographs of actual performances.

The last section explores the festive dance, when exuberance and joy – without any other meaning – prevail.

“Art of the Rehearsal”, Sarah Choo Jing’s large three-channel panoramic video from 2016, is striking. Filling the gallery, it depicts costumed Chinese, Malay and Indian dancers, stopping and starting again, intercut with a scene of everyday Singapore backstreet life.

The section also features a cheerful video in which an urban interviewer asks passers-by about their favorite dance moves. They continue to play with all the vitality and unabashed joy that dance, in its many manifestations, can bring.

The “Beyond Bollywood” lineup also includes “Dance Dialogue” pop-up performances on second Sundays and Thursdays at the galleries; a monthly series of dance performances; activities for all ages during “Family Fun Days” on the first Sunday of each month; a celebration of Asian American Pacific Islander Heritage Month on May 7; and the daily creation of exhibit-related artwork at the Shriram Experiential Learning Center.

“Beyond Bollywood: 2000 Years of Dance in Art” continues through July 10 at the Museum of Asian Art, 200 Larkin St., San Francisco. Admission is $24 to $30, free for ages 12 and under. Visit asianart.org.

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Copyright 2023 by Bay City News, Inc. Republication, redistribution, or other reuse without the express written consent of Bay City News, Inc. is prohibited.