ABSTRACT
Nyota Inyoka creates a vision of dance rooted in ritual practice and being subject to scientific discovery by inserting herself into Indian history. She stages her rediscovery' of a sacred ancient body alluding to archaeology's unearthing of historic artefacts. In a modern pictorial strategy, such as photomontage, Inyoka visualizes archaeology of movement framing her work as choreographer and dancer. Directed at the viewer and his/her acquiring of knowledge through photographs she interacts materially with photographic records and envisions a self-perception of her dance through photomontage. The artist literally steps into the discourse of images on India with her very own particular means: her body in movement, which is confronted with the photos' meaning as she imitates and varies it. Nyota Inyoka puts the photograph's content and context in relation to her actual dance practice, which is then transferred back into photography by cutting into the photo itself in a montage of images, of movements and of histories.
