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Title
Lived Experience: The Choreographies of Ananya Chatterjea and David Roussève
Permalink
https://escholarship.org/uc/item/55w1k6xt
Author
Williams, Alessandra
Publication Date
2013
Peer reviewed|Thesis/dissertation
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UNIVERSITY OF CALIFORNIA
Los Angeles
Lived Experience:
The Choreographies of Ananya Chatterjea and David Roussève
A thesis submitted in partial satisfaction
of the requirements for the degree Master of Arts
in Culture and Performance
by
Alessandra Lebea Williams
2013
© Copyright by
Alessandra Lebea Williams
2013
ABSTRACT OF THE THESIS
Lived Experience:
The Choreographies of Ananya Chatterjea and David Roussève
by
Alessandra Lebea Williams
Master of Arts in Culture and Performance
University of California, Los Angeles, 2013
Professor Allen Fraleigh Roberts, Chair
This paper shows how Ananya Chatterjea and David Roussève reinterpret their lived experiences
to create choreographies about the politics of diaspora on the concert dance stage. I examine how
Chatterjea’s reconstruction of “classical” Indian dance forms becomes the artistic foundation of
her company Ananya Dance Theatre. I analyze how Roussève reinterprets an African American
blues music “tradition” to construct the thematic framework of his company REALITY. As their
choreographies cross boundaries of culture, race, nation, and sexuality, I argue that their work
reveals the complex histories of diasporic communities. Additionally, this paper uses the
autoethnographic method to discuss how these choreographers helped me to analyze cross-
cultural engagement as a collective inquiry into lived experiences. A video of the performance I
created from this particular research is included as supplementary material.
ii
The thesis of Alessandra Lebea Williams is approved.
Shana Redmond
Mary Nooter Roberts
David Delgado Shorter
Allen Fraleigh Roberts, Committee Chair
University of California, Los Angeles
2013
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To my mother,
family, and
teachers:
I am filled with gratitude.
I hope that I make you proud.
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TABLE OF CONTENTS
Introduction ................................................................................................................................................................ 1
What is Lived Experience? ............................................................................................................................... 1
Why Ananya Chatterjea and David Roussève? ........................................................................................ 2
How Will Their Work be Analyzed? ............................................................................................................. 3
Chapter One: The Choreographic Work of David Roussève ................................................................... 5
The Blues “Tradition” ......................................................................................................................................... 5
Conventions: Urban Scenes/Creole Dreams (1993) ....................................................................... 11
The Body: The Whispers of Angels (1995) ......................................................................................... 16
“Classic Blues”: Love Songs (1998) ...................................................................................................... 21
Labor: Saudade (2009) and Two Seconds After Laughter (2012) ........................................... 26
Chapter Two: The Choreographic Work of Ananya Chatterjea ......................................................... 30
“Classical” Indian Dance ................................................................................................................................. 30
Community Activism: Pipaashaa, Extreme Thirst (2007) ........................................................... 36
Artistic Alliances: Daak, Call to Action (2008) ................................................................................. 41
“Women of Color”: Ashesh Barsha, Unending Monsoon (2009) ................................................ 46
Audience Engagement: Moreechika, Season of Mirage (2012) ................................................. 51
Chapter Three: Theorizing Cross-Cultural Engagement: An Autoethnography ......................... 54
Family Histories ................................................................................................................................................. 56
Life History Interviews .............................................................................................................................. 56
Collaboration ................................................................................................................................................. 61
Diasporic Histories ........................................................................................................................................... 67
Cultural Activism .......................................................................................................................................... 67
Collaboration, part two .............................................................................................................................. 71
Conclusion ................................................................................................................................................................. 76
Bibliography ............................................................................................................................................................. 95
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SUPPLEMENTARY MATERIALS
1. Video: An Exploration of Land, Narrative, and Performance (2013) by Alessandra Williams
v i
ACKNOWLEDGEMENTS
Mother, you continue to be the idol of that which has always defined me: community
organizing. Brother, may I always follow in the footsteps of your integrity. I lower my gaze to
my godmother Aunt Charlene for her endless loyalty. Aunt Faye, your care packages are an
overflowing bounty of compassion. Uncle David, your check-ins are precious. Aunt Jeanette and
Uncle Wayne, your love is honest and resolute. Grace, we are journeying through our father’s
piece of land. To all of my family: without your blood, I am useless. To my dearest friends
Cherish, Yaz, Khando, Rabbi, and Chit, our laughter and political dialogues fuel me. To Joy,
Emily, and Stephanie, your teachings continue to live in me. Patrick, Alex, Long Yang, Maura,
and Bobby Joe, you are the heartbeat of the Twin Cities in my eyes. Chris Fisher, I shall never
forget your theatre of inspirations.
To my dance teacher, Ananya Chatterjea, as you reach across all borders, I look to you.
David Roussève, you are the trailblazer of how we, African Americans, might see our histories
as healing. Hui Wilcox, you are my connection. Laurie Carlos, I contemplate upon your intellect
and I pause in awe of you. Ananya Dance Theatre artists, you are my extended family of dance.
Allen Roberts, your genuinely unwavering support has allowed me to dream beyond the
constraints of everyday life. Polly Roberts, your gentle way pushes me on the truthful path.
Shana Redmond, you are the architect of cross-cultural and interdisciplinary ideas. David
Shorter, you are the educator I hope to become. Elyan, Andy, Meena, Beattie, Jacinta, Neelima,
and Sam: may our collegiality never cease to exist. Asia, your presence lives in Los Angeles. D.
Sabela, please keep your knowledge flowing. Ambassador Sa-Fi, you are the eternal reach of
generosity. Joi Lewis and Peter Rachleff, your mentorship transforms me.
vi i
Many, many thanks to the Eugene V. Cota-Robles Scholarship, Chancellor’s Prize,
Mellon Mays Pre-doctoral Graduate Studies Enhancement Grant, Travel Grants from the
Department of World Arts and Cultures/Dance and the Center for the Study of Women, the
Stanley J. Tarver Memorial Scholarship, the Grassroots Solutions Organizer of the Year Award,
and the Minnesota Organization on Adolescent Pregnancy, Prevention, and Parenting Teen of the
Year Award.
Granny: the extended moment of silence that we shared continues to give me peace. Let
us keep talking…
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