EdFringe Review: Space In Between

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Arriving two minutes late to Space in Between at Assembly @ Dance Base provided an unexpectedly fitting prologue. Turned away at the door of Studio 3 due to their strict latecomer policy, I caught the introductory words to the second piece, Time Matters—a reflection on regret, missed moments, and our inability to control outcomes.

The irony was poetic, setting a resonant stage for a trilogy that explores the invisible forces shaping human experience. Conceived and directed by Oxana Banshikova, the production brings together Banshikova, Abirami Eswar, and Kirsten Newell to bridge the rich traditions of Bharatanatyam and Kathak with contemporary narrative. As someone interested in traditional arts within the broader landscape of world dance rather than a specialist, I was captivated by how these ancient vocabularies were deployed to tell deeply modern, relatable stories.

Central to the production’s authority is the formidable technical background of its trio. Both Banshikova and Newell are graduates of India’s premier institution for classical dance, the Kalakshetra Foundation in Chennai, bringing over fifteen years of rigorous training in Bharatanatyam to their collaborative work under Scotland’s Cosmic Dance initiative. Newell’s background is further enriched by foundational training in ballet and contemporary dance, while Banshikova draws on over two decades of international choreographic experience spanning Kazakhstan, Hong Kong, and the UK.

Complementing their Southern classical lineage, Eswar specializes in the North Indian Lucknow gharana of Kathak, a tradition renowned for its speed, rhythmic complexity, and subtle grace, and has earned recognition as one of the UK’s top young South Asian artists. Together, their diverse yet deeply grounded lineages perform their remarkable kinetic range.

Interweaving Bharatanatyam and Kathak in Space in Between

The performance flows as a continuous reflection, both literal and physical, cleverly playing with verbal and non-verbal communication. In Time Matters, performed by Banshikova and Eswar, the work opens with a spoken dialogue contrasting the communication styles of Kathak and Bharatanatyam. Subtly underpinned by the dancers’ distinct cultural roots, this vocal exchange quickly reaches beyond dance traditions to speak to a global experience of human understanding. A striking juxtaposition follows: where the spoken words imitate an argument, the dance sequences offer a path toward reconciliation.

It is fascinating to watch the performers move in precise synchronization, revealing that the true beauty lies in how their individual bodies uniquely embody the same movement. Banshikova’s structured, geometric lines, hallmarks of her Bharatanatyam background, contrast with Eswar’s fluid, flowing Kathak grace, all set against a score that persistently asks, “Is it worth it?” The ultimate resolution doesn’t erase their distinct classical lineages, but rather celebrates how individual artistic voices can come together.

This tension between the individual and the collective shifts seamlessly into the final movement, Unspoken Alignment, which brings all three dancers to the stage. Exploring group dynamics, hidden friction, and personal ambition, the piece weaves between formal dance and rhythmic movement games shared by Eswar, Banshikova, and Newell. Seeing a unified movement vocabulary interpreted through three distinct backgrounds highlights the fragile balance between shared goals and personal identity.

Cameron Newell’s composition for this final section is a standout, effortlessly blending contemporary soundscapes with the driving, complex rhythms of South Asian dance. In contrast to the earlier piece, where lighter percussion allowed the raw, rhythmic stamping of the dancers’ feet to serve as a dramatic storytelling tool, this score builds a rich, driving momentum that carries the performance to its peak.

Visual choices reinforce this modern perspective throughout. Stepping away from the traditional, bedazzled shine of classical Indian attire, the costuming is understated and deliberate. In Time Matters, the attire reflects the contrasting styles of the two performers, while in Unspoken Alignment, matching costumes unify the trio, emphasizing the shared human emotions at the core of the work.

Though the performers ground their movement vocabulary in authentic Kathak and Bharatanatyam, the overarching flow, staging, and storytelling feel remarkably fresh and current. Space in Between is a clever, atmospheric piece of dance theatre that successfully breaks rigid boundaries without losing touch with its roots, offering a deeply rewarding experience for traditional dance enthusiasts and modern theatre audiences alike.

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