Rakesh Sukesh’s performance, titled ‘because I love the diversity’ made its United States premiere at the Portland Institute for Contemporary Art (PICA) from April 12 to 19, capturing audiences with its nuanced exploration of identity and experience.
The performance, co-presented by BOOM Arts, is rooted in Sukesh’s journey as an Indian immigrant navigating life in Europe. Attendees were treated to a thought-provoking blend of humor, emotion, and conscious commentary on issues of race, class, and gender.
On April 13, I witnessed a performance that balanced entertainment with significant social critique, deftly illuminating the intersections of Sukesh’s life experiences. The title itself—echoing themes of ‘micro-attitudes,’ could cleverly allude to the insidious nature of microaggressions prevalent in society.
The performance commenced with an intriguing audio piece—a cacophony of overlapping voices that set the stage for an exploration of communication and cultural dialogue. Dressed in a beige Adidas track suit, Sukesh established an immediate connection with the audience through his rhythmic movements and playful gestures, eliciting smiles and laughter.
Sukesh’s choice of movement included a mix of Bollywood-inspired dances interwoven with classical ballet, showcasing a charming blend of styles that celebrates diversity in dance. As he danced, a narrative began to unfold. He dramatically unfurled a brown tapestry, portraying it as a map of India, and pointed out his home state, Kerala, providing a glimpse into his beginnings.
Growing up in a tapestry-making family, Sukesh shared his journey that began with Bollywood dance as an attempt to build his confidence, only to find disappointment in its behind-the-scenes culture. He stumbled upon contemporary dance, an experience that ignited his passion, as he embraced its freedom during his enthusiastic demonstration of movement.
The narrative shifted as Sukesh recounted his initial struggles in Germany, which he faced due to visa challenges but later found solace in Switzerland, where he felt welcomed for his perceived ‘diversity.’ Through vibrant leaps and bright smiles, he showcased the charm of his cultural identity even as he navigated a complex socio-political landscape.
However, as his tale continued, the weight of racism came crashing down on his narrative. Sukesh recounted a stark experience in Estonia where his image was used in a controversial campaign against immigrants, positioning him as a scapegoat in a larger class-driven conflict. The audience watched as he portrayed the despair of being unjustly labeled, pulling at his face in an urgent, desperate plea for identity.
The powerful climax of this section of the performance illuminated the connection between race and class discrimination. Seeking connections in social media, he recounted receiving backlash and racist sentiments from a friend that left him rattled. The emotional tone escalated as he conveyed the absurdity and frustration of being categorized based on race instead of individuality.
Through pounding movements, Sukesh encapsulated his anger and rejection, interjecting ‘FUCK’ into the rhythm of the performance to embody the visceral pain of these encounters. His storytelling continued with humorous anecdotes of misidentifications—like being mistaken for a delivery person—unpacking a shared experience of prejudice many face today.
As the performance progressed, Sukesh introduced a dialogue through the voice of a white woman, Carolina, who professed her affection for ‘diversity.’ Yet, her narrative suggested an uncomfortable ignorance as she recounted attempting to befriend African men while simultaneously overlooking her own racial bias, serving as a sharp commentary on the commodification of relationships across race lines.
Moreover, Sukesh’s reflections on his relationships with women revealed deeper themes of emotional dependency. The implications of using individuals for emotional support in his intercultural experiences resonated throughout the performance, raising questions about mutual dependency and exotification due to cultural diversity.
The depth of Sukesh’s artistry was evident as he engaged the audience interactively, teaching Sanskrit terms and encouraging participation, reinforcing that cultivation of culture goes beyond translation into English. This poignant moment underscored Sukesh’s commitment to bridging cultural divides through education and shared experience in dance.
Exploring the aesthetic language of contemporary dance, the performance transitioned into a section choreographed to ‘The Dying Swan,’ where Sukesh embodied the tension between aspiration and inhibition. His movement reflected an inner conflict, persistently performed yet falling short of traditional standards. Each failed pirouette and imperfect aerial maneuver carried meaning, highlighting his struggle to fit into an art form often dominated by privilege.
Toward the conclusion, Sukesh unwrapped a large tapestry crafted from varied fabrics, symbolizing the complexities of his identity. He shed his tracksuit to reveal his physical vulnerability, sewing together a garment that matched his skin tone while simultaneously discarding the remnants of a westernized dance identity—an act that enriched the thematic exploration of ethnicity and belonging.
The emotional potency peaked with a poignant moment where Sukesh’s mother’s voice echoed through the speakers, conveying a sentiment of sadness whenever she thought of him. Translated for the audience, this moment starkly illuminated the often-unrecognized sacrifices and expectations immigrant families hold for their children.
Ultimately, Sukesh’s performance was an embodiment not just of his singular experience but reflective of a collective story—a narrative crafted by countless artists navigating similar struggles. It emphasized the notion that collaboration, as indicated by his partnership with dramaturg and set designer Alessia Luna Wyss, is crucial in cultivating complex narratives that resonate through multiple dimensions of experience.
Sukesh’s work challenges audiences to confront personal and societal biases, while also celebrating the beauty and strength of individual stories within the broader tapestry of culture. With powerful movement and resonant storytelling, ‘because I love the diversity’ invites viewers to reflect on the multifaceted dynamics of identity within contemporary contexts.
image source from：https://www.orartswatch.org/review-rakesh-sukeshs-dance-of-diversity/
