Photo: Robert Bloomfield

Reflections on bringing my teacher and guru together for Learning to Dance

by Balbir Singh

The idea

Where do my ideas come from? I have no idea, but I guess there is a logic to wanting to bring together two massively significant characters that have impacted on my development as an artist. Namron at the Northern School of Contemporary Dance – it was a wonderful three years under his guidance. Then, after graduating, being taught by and becoming a disciple of Padmashri Pratap Pawar and embarking on a journey into Kathak.

The thought process around having the two of them on stage together is similar to how I always make work: a strong concept, lightly placed in the abstract. Then came the question of what to call the piece, and Learning to Dance seemed to naturally suggest itself. These two global legends in the world of dance stripping it all back to learning the artform, their journey with it, and their teaching of dance.

What it felt like making the work

I constantly put myself outside my comfort zone in terms of challenging myself artistically with each piece I make so I don’t get nervous. However on this one I was a little bit nervous. It was an honour and privilege to have two such giants agree to work with me and trust me to create a new piece of work that was very different to anything either of them had done before. In the Indian dance world especially, for a Guru to have work made on them by a disciple is a rarity.

The sense of responsibility if I thought about it too much was massive. It was brave of them both to enter the studio and let me lead on trying to realise what was in my mind.

The learning

The learning was enormous on so many levels, from figuring out how to make sense of the overall concept, how to make it work in reality, how to pace time in the studio and find the best process to bring it to life, working with two dancers in their 70s where there was uncertainty about what they might be able to remember, how they might be able to relate to each other.

Working musically with composer Jesse Bannister and an outstanding team of musicians, was a delight – and also high level dancers Sooraj Subramaniam and Johnny Autin who acted as ‘echoes’ of the lasters’ younger selves. I sometimes say if you get your casting right, half your job is done before you start to realise the creative vision.

I say usually when I am doing something new that initially it may not make any sense and not work, but that is the challenge of trying something new. It never gets any easier, you just get used to it being difficult, and then miss it if you aren’t working in that way.

There was a point in the process at the end of a day of rehearsals Pratap and Namron were chatting and out of the conversation came a realisation that the following day was both their birthdays. The fact that they shared the same birthday had never before occurred to any of us. My response to this was – it was my destiny to bring the two of them together.

Explore all

The Idea (learning to dance)
My destiny to bring them together
Natural curiosity and questions (learning to dance)
Composer thoughts (learning to dance)
The story (love and spice)
Dance with live cooking
On the trail of love and spice
Love, spice – and healthy eating
Breakdown of The Strategists
A dancer reflects on The Strategists (1)
An interview with Kuldip Singh Bist of the Delhi Hurricanes
Overview of The Strategists
Decreasing Infinity in India
Painter research
A dancer reflects on Love and Spice
Sooraj Subramaniam
Breakdown of the piece (12)
Dancer notes performance (flatlands)
Breakdown of the piece (love and spice)
Moon, dance
The Collaborators
Bones, Bodies and Beats
Peacock Lake – genesis of the concept
Script (12)
BMX and Flatland terminology
A dancer reflects on The Strategists (2)
Running order (full contact)
Watersplash! Uncovering hidden histories to reach new audiences
When Worlds Collide
Immersed in music
In the presence of geniuses
Namron
Olga Maloney
Exploring hidden worlds
Gary Beacom
A bridge to India
Jesse Bannister
A lost art?
Full Contact – highlights from the script
Kimberley Hardy
body/painting – dancers at an exhibition
Firing up the Mehfil Machine
Baines Cards
Who was Sir Hans Krebs?
Synchro in the city
Kali Chandrasegaram
Creative Case – challenges along the way
The Guru-Shishya relationship
Padmashri Guru Pratap Pawar
What is Kathak?
Life blood
A new aesthetic in the sport-art of synchro
AquaKathak – the creative water workout
Balbir on working with Gary
Colouring your emotions
Abirami Eshwar