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Skye Arundhati Thomas
Skye Arundhati Thomas is co-editor of The White Review.

Articles Available Online


Interview with Bani Abidi

Interview

Issue No. 33

Skye Arundhati Thomas

Interview

Issue No. 33

In the three-minute short Mangoes (1999) by Berlin-based Pakistani artist Bani Abidi, two women sit next to each other on a white table, each with...

Art Review

February 2019

Simryn Gill, Soft Tissue

Skye Arundhati Thomas

Art Review

February 2019

I walked into Simryn Gill’s exhibition SOFT TISSUE at Jhaveri Contemporary on one of the worst days of an...

Balanchine, the Wilis, and Collective Female Anger in Ballet   Growing up in ballet, I occasionally trained with a visiting instructor who had danced for George Balanchine in his glory days at New York City Ballet She went by only her first name and titled her dance accordingly, perhaps in an attempt to mythologise herself in the same way she mythologised ‘Mr B’ – when she spoke of him, her eyes took on a cultish glaze I came to associate that mesmerised expression and a near-erotic love of dance with Balanchine dancers, many of whom never seem to have got over having been touched by The Master   When she warned us that ageing as a dancer was an accelerated process, as though we were deteriorating in dog-years, I felt let in on a secret that connected me with a grand tradition of dancers But she was also a cautionary tale: as I would imagine her preparing for her goddess-like descent on our class – brushing her wispy, waist-length white hair into a severe bun, wrapping her frame (which had no loose skin to indicate that she had ever gained weight or strayed from a balletic body) in tights and a chiffon skirt as though she were still a student – I felt unsafe from myself, as though I was quickly approaching a day when there would be nothing I could change about my life, either Wanting could become an end unto itself   Like many young dancers, I devoured former NYCB principal Gelsey Kirkland’s 1986 autobiography, Dancing on My Grave, which chronicles her rise from star student to principal dancer, her drug addiction, physical deterioration, and the pitfalls of being locked into Balanchine’s closed system of instruction I read the book between classes in the crumbling building of my ballet school, breathing the characteristic scent of rosen, sweat, and Jet glue while the other girls stretched and tittered as the boys struggled to balance in their pointe shoes For many, these interactions were their earliest flirtations, branded by the slightest betrayal of the strict balletic gender divide: women wear pointe shoes, extending their limbs

Contributor

February 2018

Skye Arundhati Thomas

Contributor

February 2018

Skye Arundhati Thomas is co-editor of The White Review.

Bani Abidi & Naeem Mohaiemen, I wish to let you fall out of my hands (Chapter 1)

Art Review

February 2018

Skye Arundhati Thomas

Art Review

February 2018

Loneliness is mostly narrative. It also has an aesthetic: an empty tableau in which the lonely act is performed. In Naeem Mohaiemen’s Tripoli Cancelled...
The characters in We That Are Young reside at ‘The Farm’ – a sprawling house in New Delhi complete with its own topiary of fat peacocks, bulbous pink flowers with English names, Fendi furniture, and a room in which it snows at the press of a button It’s not far removed from reality – Antilla, the world’s first billion-dollar residence for a single family of four, is a 40-storey building that towers over the suburbs of South Mumbai, replete with a staff of over 600 people, its own electrical power grid, ten-storey parking for a collection of unusable vintage cars, and a room, of course, where it snows on demand In dialogue with Shakespeare’s King Lear, Taneja’s debut novel explores the lives of a family that owns a multinational conglomerate, ‘The Company’, to which each character’s fate (and inheritance) is inextricably tied We have our patriarch, the Lear figure, Devraj; his three daughters Sita, Radha and Gargi; and his right-hand man Ranjit’s two sons, Jeet and Jivan The embarrassment of riches makes for an irresistible, if outlandish, setting; Taneja vividly indulges our intrigue in the way the rich conduct their daily lives, letting her words ooze out their luxury – filthy, yet so desirable After a particularly gruesome scene in which Radha administers the plucking out of a man’s eyes, she steps back into her suite and calls for a pot of first flush Assam, and rose macaroons   A reinterpretation of Shakespeare is the perfect postcolonial conquest: he remains the epitome of the Western canon, patriarchal, and repeatedly failing to include representations of the ‘other’ without recourse to parody Mainstream appropriations of Shakespeare in South Asia, such as Bollywood filmmaker Vishal Bharadwaj’s trilogy Maqbool (Macbeth), Omkara (Othello), and Haider (Hamlet), have generally taken us to rural settings, wherein tragedy is relegated to a matter of the lower castes Taneja, a Shakespearean academic and human rights activist, eschews such stereotypes, and goes straight for the jugular: the innate hypocrisy of the Indian class and caste system ‘It’s not about land, it’s about money,’ states the first line of the book, taking
Preti Taneja’s ‘We That Are Young’

Book Review

October 2017

Skye Arundhati Thomas


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Art

Issue No. 6

Interview with Edmund de Waal

Emmeline Francis

Art

Issue No. 6

As we speak, Edmund de Waal, ceramicist and writer, moves his palms continually over the surface of the trestle...

Art

June 2015

Photo London

Art

June 2015

From May 21-24, London’s Somerset House hosted the inaugural edition of London’s new international photography fair, Photo London.  ...

fiction

January 2016

By the River

Esther Kinsky

TR. Martin Chalmers

fiction

January 2016

  For Aljoscha   ST LAWRENCE SEAWAY   Under my finger the map, this quiet pale blue of the...

 

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