Ananya Dance Theatre generates a framework for “contemporary dance” as choreography which enacts its solidarity with the land of Native peoples. Artistic director Ananya Chatterjea mobilizes her contemporary aesthetic, “Yorchhā,” through the company's alliance with Indigenous peoples’ worldviews on land and water protection, especially through their relations with Dakota and Anishinaabe persons. Dance analysis of the pieces “Moreechika: Season of Mirage” (2012), “Shaatranga: Women Weaving Worlds” (2018), and “Shyamali: Sprouting Words” (2017) shapes contemporary dance through its engagement with Native persons’ caretaking labor for the environment and the position of these relations in the choreography. A practice of humility emerges as the cornerstone of solidarity in contemporary dance due to the necessity for longstanding Native invitation and engagement, Indigenous narratives and embodiment in the dance pieces, and lessons learned from the pitfalls in intersecting techniques such as Ananya Dance Theatre's with Native people's lifeways and knowledges.

中文翻译：

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原住民土地上的现代舞：Ananya 舞蹈剧院编舞中的土著团结


Ananya Dance Theatre 为“现代舞”作为一个编舞框架，体现了它与原住民土地的团结。艺术总监 Ananya Chatterjea 通过与原住民在土地和水资源保护方面的世界观结盟，特别是通过他们与 Dakota 和 Anishinaabe 人的关系，调动了她的当代美学“Yorchhā”。对作品“Moreechika： Season of Mirage”（2012 年）、“Shaatranga：女性编织世界”（2018 年）和“Shyamali：萌芽的词”（2017 年）的舞蹈分析通过参与土著人对环境的照顾劳动以及这些关系在编舞中的位置来塑造现代舞。谦逊的实践成为现代舞团结的基石，因为需要长期的原住民邀请和参与，原住民叙事和舞蹈作品中的体现，以及从交叉技术（如 Ananya 舞蹈剧院）与原住民的生活方式和知识的交叉技巧中吸取的教训。