Zodiak's September premiere is ATROPOS, by dancer and choreographer Lydia Touliatou. In the text below, Lydia sheds light on the background of the work as well as on her artistic practises.
As someone born in Thessaloniki, raised in Athens, studied in London, and then lived in Helsinki, I find that navigating my connection with my homeland and my chosen homes is further complicated by the loss of people, places, and relationships. When the elements that define my sense of home disappear, I experience profound grief. This grief makes me feel that the promise of a migrant’s life rests on a foundation of both small and significant losses, revealing a rehearsed bravery in the face of the unknown.
Although I am ultimately a Greek artist, this aspect of my work is often lost in translation. Having lived abroad for over a decade, I aim to root my artistic exploration in the intertwined threads of my life and practices that are wholly mine. These include the Greek mythology I inherited, my experiences as a female migrant artist, and the classical Indian dance form I have studied and practised for twenty years — Bharatanatyam. This dance form is so inseparable from me that even my private gestures carry its traces.
As a dancer, I deeply value the resilience and rich knowledge inherent in classical Indian styles. However, due to my varied training background and personal interests, I find my process oscillating between classical and contemporary modes. My goal is to interweave various concepts, movement vocabularies, and dramaturgies rather than rely on one practice alone. In my role as a dancer-choreographer, it is crucial for me to embrace my non-traditional approach to Bharatanatyam and remain open to the unexpected possibilities ahead. An important aspect of my practice is that the blending of classical and contemporary approaches offers numerous choreographic paths for exploration and experimentation.
Thus, my practice is symbiotic; it is nurtured by both Greek and Indian cultures, which I hold dear. Yet, my choreographic work does not belong to a single culture; it is characterised by constant movement and dialogue between them. My artistic identity is Greek, which means my concerns, topics, aesthetics, and perspectives are rooted in that culture. My movement vocabulary originates from classical Indian dance, providing me with a layered ability for articulation that I did not inherit from my folk culture. Additionally, my training in contemporary dance informs how I approach, explore, and frame my work. However, I do not limit myself to a binary understanding of these two cultures and worldviews. I am open to exploring various knowledge-systems, beliefs, ideologies, theories, traditions, and mythologies, all of which I wish to incorporate into my work and experiments.
Structurally, ATROPOS serves as a dialogue between different cultures, practices, and temporalities. The movement language of the piece derives from the narrative principles of Bharatanatyam. The storytelling tools of mudras (hand gestures) and abhinaya (facial expressions) form the foundation of a new kinetic vocabulary that I am developing as a contemporary dance artist, distilled through my dual training and embodiment of both Eastern and Western choreographic methods.
Thematically, ATROPOS delves into the connections between death and migration through the rich tapestry of ancient Greek mythology and the lived experiences of a female migrant artist.
Migration signifies the loss of a place, while death embodies the loss of self and presence. Memory intertwines these two profound experiences.
Theorist Nikos Papastergiadis argues that “migrants in metropolitan spaces become agents of cultural and social changes, empowered to transform the host country at many different dimensions”.
In addition, philosopher Laura U. Marks states that, in contrast to ‘nation,’ ‘culture’ is carried more continuously by those who migrate; culture flows across national borders and alters nations from within. Reflecting on the impact of cultural exchanges caused by migration, I recognise the fluidity in my identity as an immigrant artist, moving from place to place and carrying cultural fragments from the cultures I encounter.
These geographical movements have also affected how I continue to experience or relate to Greek culture. The distance from my family, childhood friends and familiar surroundings impacts how I perceive my growth and departure from my origins, as my connection to them heavily relies on memory and brief reconnections. Embracing different cultures along the way has complicated the fashion I carry Greek culture in my daily life. Just as I affect the host countries as an immigrant, in a similar manner, the host country is reshaping the essence of culture within me.
I hope that through ATROPOS, we can engage in a meaningful conversation, allowing both of us to feel at home with each other for a while.
Thank you for your hospitality.
Lydia Touliatou
(noted down by Katalin Trencsényi)