Arabesques et Mudras

🪔 About

“Arabesques et Mudras” does not refer to a single renowned Indian classical dance figure. Instead, it is associated with the collaborative artistic work of Nirmala and Patrick Gleyse, who are dancers and choreographers. This duo divides their time and artistic endeavors between France and India, engaging in collaborations with musicians and choreographers primarily from Madras (South India). Their joint creative expressions are presented on stage. The name “Arabesques et Mudras” itself suggests a fusion or dialogue between different dance traditions. The term “arabesque” originates from Western classical ballet, where it denotes a fundamental and iconic body position. In an arabesque, a dancer stands on one leg, the supporting leg, with the other leg, the working leg, turned out and extended straight behind the body. This pose is celebrated for its elegance, poise, and its ability to convey control, balance, and artistic expression across various dance forms. Conversely, “mudras” are a cornerstone of Indian classical dance forms, particularly Bharatanatyam. These are symbolic hand gestures that are crucial for storytelling, expressing a wide range of emotions, and conveying specific meanings without words. Mudras are central to Abhinaya, the expressive dimension of Bharatanatyam, where gestures become narrative. They carry deep meanings, with even a small flick of the wrist or bend of a finger capable of expressing emotions like joy, sorrow, anger, or love. These gestures serve as a bridge between the dance and its narrative, allowing the dancer to communicate with the audience. Mudras are broadly classified into Asamyukta Hastas (single-hand gestures) and Samyukta Hastas (double-hand gestures), forming a rich vocabulary that enables dancers to narrate tales and portray characters, emotions, or objects. The combination of these two distinct dance terminologies by Nirmala and Patrick Gleyse highlights an artistic exploration that bridges Western and Indian classical dance aesthetics, rather than identifying a singular Indian classical dance guru.