Kathmandu

The ground floor of Siddhartha Art Gallery, Babermahal Revisited is filled with thick layer of sand; the layer of sand is thicker at the centre like a podium, just below the hanging white-coloured textile art. Ten life-size photographs of women in white hang close to the walls — these women’s feet are immersed in water. Colourful drawings of women in various forms and several quotes about women, their bodies and feelings in frames are a part of the walls. In one corner, there is a round silver container filled with water.

When all these elements are put together, it personifies Aamaa — a live art performance held at Taragaon

Museum during the Kathmandu Triennale on March 28. Directed by Ryan Elisabeth Reid, Creative Arts Fulbright grant in Nepal, women aged between eight to 73 years of age shared their experiences of being a woman through their dance movements in the live art performance.

Sand, photographs and its content, and other artworks as the process and resources of Aamaa are on display in the exhibition titled ‘Ma: A History of Us’ which opened on May 19.

Reid says, it deals with the tools, methods and resources used to create Aamaa artwork. “Use of water and sand represents the items used during the live performance in Kathmandu Triennale. The photographs of women standing still show the existence of women,” Reid explains about the use of various materials at the current exhibition.

Continuing the essence of Aamaa, the second floor is filled with dry leaves. There are three video installations that screen the performance of Aamaa — women expressing their love and bond for each other through their body movements.

In these videos, the women are seen lining up, washing their hair and immersing their feet in water or moving or hugging theatrically. These videos are the film footages of dance moves of Aamaa.

Eleven women are also performing a similar Aamaa performance during the exhibition. As per Reid, it will include similar expressions.

In relation to the subject of aama (mother), textile artist Keepa Maskey has put up textile installations — white coloured and connected fabrics that hang from the ceiling. Titled ‘Blooming Belly’, ‘Petticoat’ and ‘Woven Hope’, they embody pregnancy and being a woman and their hopeful nature.

Besides the exhibition, there will be more postmodern dance performances in the evening (5:30) on May 21 and 22 while the exhibition will conclude on May 23.