Maharshi Raval, on the other hand, is a table player steeped in tradition. Each comes from a different part of India: English is the only language they have in common.
Two begins at the beginning. Raval arrives for a rehearsal, instrument bag in hand, and takes off his shoes. Together, they construct a neat playing platform.
At first tentatively, they offer each other phrases of nuanced drumbeats and movement in an aural and visual conversation. The rhythms are complex, the dance is light-footed and fast.
Gradually their collaboration evolves at artistic and personal levels. Handa gets Raval to dance; Raval gives Handa the rare honour of playing his tabla.
Finally they get to a formal performance for which Handa adds an open shirt that flies around him, amplifying the speed of his turns. His fast footwork is dazzling and his body has ribbon-like pliancy.
All this takes place in a simple staging by Justine Shih Pearson, with lighting by Karen Norris and dramaturgy by Julie-Anne Long.
But, having enjoyed Handa’s thought-provoking choreographic ventures over five years, most recently in Sydney Dance Company’s New Breed last November, I give him credit as the leading light and look forward to the next one.
Until February 20
