I was familiar with S. H. Raza’s work for quite a while, but for the three months preceding the first performance of this piece Naad-Bindu, I quite literally lived, breathed, and danced these paintings.
They compelled me to think about energy: with sound, notes, and rhythm on the one hand; and the point, lines, and shapes on the other: and especially about the explicit and implicit manipulation of energy as lines form in space through dance.
Dance and painting have colours and lines in common, yes, but they also share abstraction. My years of dance have made the abstract world of sound, rhythm and lines very familiar to me. Now I sought to find the vast, seeming empty and full spheres suggested by the Bindu and the aavartan, the time cycle used in dance. They were both, at once, minute and gigantic, hollow and full.
The choreography is in five parts. The painting is projected on the screen, after that comes my interpretation of the painting: through spatial patterns, circles, basically, which are of different radii; circles turning at different speeds; and so on.