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Win Tix: Oakland Ballet Company’s “Jangala” Based on The Jungle Book | Oakland
Margaret Atwood's Fairy-Tale Sexual Politics by Sharon Rose Wilson Sharon Rose Wilson's analysis of Margaret Atwood's sexual politics through a study of fairy-tale patterns offers a new reading of Atwood and a fresh appreciation of the traditional fairy tale's ability to illuminate modern literature. Not only is this the first study to explore systematically Atwood's fiction and poetry through fairy-tale images, but also it occasions the first time Atwood has allowed examples of her artwork to be published in a book.
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In relating Atwood's fragile, mysterious paintings, collages, linocuts, drawings, and cartoons to her writing, this study shows how such fairy-tale images-along with myths, the Bible, history, film, art, and popular literature-reveal archetypes in her work. The engaging writing and the eerie visual art of Margaret Atwood braid together fairy-tale themes from Grimm and Andersen with the feminist concerns for which this internationally acclaimed Canadian author is well known.
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In almost all her novels she explores the "Rapunzel Syndrome," in which women experience internalized isolation. In joining Atwood's literature and her artwork, Wilson challenges feminist assumptions that fairy tales limit gender roles. The company gins a youthful resilience nurtured by a conscientious awareness of its broad-based public.
Oakland Ballet Company's "Jangala" Based on The Jungle Book | Oakland
Both pieces are world premieres, choreographed by Thekkek and Shruti Abhishek. Using stylized Indian poses, dancers in well-tended diagonal semi-cannons, work with knees bent, except when one flexed-heel foot juts forward to send out shimmering joy, punctuated by loud stamps.
This reprise of Oakland Ballet demonstrates that you can accomplish bite-sized miracles on a small budget if you use voiceover and repurposed objects, such as corrugated aluminum siding scraps, and depend heavily on six very talented young musicians to create a mood, as they play sitars and small drums. They are joined in their shape-making by Kung, Murphy, and Quezada.
Mowgli, danced by Perez, is delightful, as he frolics with the animals to a sitar solo. Bell gives us a slightly malevolent Shere Khan, in red from head to ankle. This can render the pointe shoes either redundant or weapon-like. What a treat it would be to see her dance more en pointe in this role!