Words by Francesca Matthys.
A couple of months ago Katie and I had the pleasure of experiencing Future Ritual’s Ceremony [I], a day of durational performances by four artists; Marilyn Arsem, Sandra Johnston, Helena Goldwater and Devika Bilimoria. Led by Joseph Morgan Schofield, “Future Ritual works to support the emergence of new and more attuned cultures, collaborating with artists to create contemporary expressions of ritual.”
Taking place in two derelict terraced Victorian houses in south-east London, the whole experience felt like discovering hidden treasures, secret moments of intimacy shared with us for just those moments.
My reflection is on one of the works Offerings by Devika Bilimoria. It was indeed an intentional offering that took place on one of the top floors of the dilapidated structures. Offerings is an unconventional dance but certainly a dance between the present, connections to ancestry, past peoples through objects and perhaps the uncertainty of the future. An exciting possibility.
The work draws from the Hindu offering ritual, puja, the word itself referencing a reverence and honour amongst others. Bilimoria’s work holds this as its essence as the performer sits either cross legged or on their knees surrounded by ceremonial objects such as flowers, ghee, fruits, milk and spices. Offerings feels very much like a performance of contemplation and presence with the self, we the audience or witnesses just happen to be there.
Offerings is live choreographing in the moment as the performer actively rolls a dice that determines their next combination of actions. These actions spontaneously layered on one another allow us to meet Bilimoria at striking and often very distilled episodes of performance. They are often quick and to the point, that allow us to be moved but also not be too precious about what has just happened. It is almost as if through trial and error with cultural and particularly spiritual artefacts, you can reconcile the relationship to one’s cultural heritage or spirituality.
As the tone and quality of the performance is very pedestrian rather than heightened and presentational, there are many familiar references that emerge through this experiences. Ghee or clarified butter that is often used as an offering to gods in Hinduism, as well as representing the sacred energy of the sun, is thrown across the space. Developing from pedestrian into a movement of exhaustively flopping oneself around, there are actions of throwing, reminiscent of throwing sand on the grave of a deceased in many cultures across the world. A symbol of returning back to the earth where we may have a rooted connection with. I wonder about this reminder of the earth and our connection to it. Offerings is a reminder to be present with the tangible gifts passed down from our lineage.
As Bilimoria shifts space, they carry different objects with them – such as a watermelon – up and down the stairs. It’s a beautiful image and the watermelon’s physical weight makes me think of the global majority’s ancestral connections to labour as work and consciously and unconsciously carrying the load of so much trauma and strife. At the same time, a revelation to be able to freely carry this heavy object, this weight and acknowledge the choice in that.
Another significant object used throughout the performance is a golden bell which in Hinduism is said to allow divinity and ward off evil. I certainly felt it serving as a strong recurring convention to cleanse the space before or after each series of actions. A reminder that it is always possible to start again.
As Offerings is durational, there are so many delicate and nuanced moments the performer journeys through and will journey through regardless of who watches. And as individuals perhaps a mirroring of life and how the processing and healing continue regardless of who is privy to them.