Brylla, C. “Review of ‘Antardrishti – Inner Vision’ concert – organised and performed by blind sitar player Baluji Shrivastav” – this was an interview as part of a case study commissioned by Unlimited (an arts commissioning programme that aims to embed work by disabled artists within the cultural sector, reach new audiences and shift perceptions of disabled people). link
Full interview (by Sarfraz Manzoor):
What was your own personal response and reaction to the concert?
I attended the Antardrishti – Inner Vision Concert at the Queen Elizabeth Hall on 7th September. As an academic doing research on blindness and creativity, but also as a general music lover, the concert was a riveting experience. It went beyond merely listening to music; it was more of a synaesthetic experience, involving and bridging a variety of senses – visual, aural, olfactory, tactile, and even the vestibular sense. This was achieved through the remarkable interaction between music, dance and film.
What stood out for you?
What stood out for me was the harmonious synergy of a diverse range of affective sensations and cognitive stimulations. These were generated by different types of media (music, dance, film), different musical styles and performances (which was, not least, augmented by the cultural diversity of the musicians themselves), an efficient variety of moods and rhythms, and, the combination of philosophical thoughts with immersive performances. This created for me a unique and trance-like experience of being drawn into a mythological world, whilst constantly interpreting and appreciating the very mythological symbolism constructing that world.
Why do you think a performance such as this is important to support?
From a general perspective, such a performance has two scopes worth supporting. Firstly, it provides a unique embodied experience that challenges posthumanist ideas and developments, as it brings us back to a more primordial and intimate relationship with our own bodies and minds. In a world dominated by virtual mass-mediation, in which communication becomes increasingly disembodied, such a performance helps us reconnect our mind and body in a balanced, tangible and mindful unity. Secondly, it provides a great insight into the sophisticated philosophy of a different culture, challenging stereotypes of ‘otherness’ and retrogradeness. It thus reinforces the need to dip more into Eastern philosophies as a much-needed complement to the rational and fast-paced Western way of life.
From a disability awareness perspective, such a performance catapults the creative abilities and passion of blind artists into the conscious mind of non-blind people, challenging ableist stereotypes of inferiority and abnormality. In fact, a non-blind audience becomes very much aware of how visual impairment can uniquely inform the artistic creation process, offering a distinctive way of self-expression that is nonetheless as valuable, effective and engaging as art performed by seeing people. In other words, there is a high potential to deconstruct hegemonic binaries of “blind vs. seeing artists” by emphasising a contrast in expression, and simultaneously a similarity in creative value and rigour.
Brylla, C. “Documentary and (Dis)ability Symposium Report, University of Surrey”. Studies in Documentary Film. Taylor & Francis. Volume 8 (2), pp. 169-171. 2014. full report
Brylla, C. “A Road to Mecca: The Journey of Muhammad Asad”. Leonardo Reviews. December 2009. full review