Sharan Devkar Shankar
CHARCOAL platform for collaboration, with the support of Prakriti Foundation.
About the Film
And Indeed There Will Be Time… is a conversation between space, time, and matter with dancer Preethi Athreya and filmmaker Sharan Devkar Shankar. Created as a response to an abandoned renovation site, the film looks at space as being defined by the actions it has witnessed as much as by the materiality of its construction. The moving body is at once a presence, an absence, a memory and a catalyst, in conversation with an in-between space, in an in-between time and as such, a sign of the times we are all inhabiting – a somewhere in a nowhere, even as we try to understand logically and emotionally what we are moving towards.
Preethi Athreya, Conceptualiser / Choreographer
Preethi Athreya trained in classical Indian dance and has a postgraduate degree in Dance Studies (Laban Centre, London, 2001). Keenly conscious of her need to be defined not as the exotic other, she chose to continue her journey in her native Chennai, with a strong commitment to constantly redefine the Indian body. Preethi has been engaged in creating a personal movement language that reflects her relationship with her context, being at the same time open to new ways in how we may relate to the body. She has choreographed, performed, and produced 13 collaborative works since 2003, the latest being And Indeed There Will Be Time… (2020) and BIRD (2021).
Sharan Devkar Shankar, Filmmaker
Sharan Devkar Shankar is a photographer and independent filmmaker based in Chennai. He primarily works with still and moving images and explores other media through collaborations with different practitioners and by means of participating in diverse artistic processes. “My larger body of work aims to look at people, their relationships with their built environments, and the intimacy with which they go about their daily lives. I also look at myself, because being around contemporary dance has influenced my practice as a visual artist, particularly the ways in which I view the body and movement.”
In the short span of a few weeks into March 2020, the effect of the quarantine and social distancing had made its mark on our bodies. We had become suspicious of our own hands, anxious about what we had touched, where we had leaned or sat, or who had passed by within a foot from us. Feeling as such, alienated from our bodily selves, I wanted to ask what does it mean to move through space, to partner with surfaces and objects, to move around people without touching them, to feel their fear and shrinking … this film has been a small intervention in time, to perhaps ‘touch’ what is not yet.