The term ‘mix-tape’ is normally used for a music album. But the ‘Mix-Tape (1)’ held for a single evening recently at the Canvas Gallery in Karachi, curated by Sara Pagganwala, was a performance art show.

This genre of live art surfaced in the late 1950s following the decline of abstract expressionism. The performance art is a collage of work that integrates text, objects, music, dance, costumes, lighting, sound, images and sets, and it usually addresses social and political issues in various simultaneous performances. One of the first Pakistani artists to ‘perform’ was Rasheed Araeen who moved to London in 1964. His 1977 performance event titled, ‘Paki Bastard’, conveyed the painful experiences of immigrants.

Using all of the gallery’s space, the ‘Mix-Tape (1)’ show overflowed not only with over 20 performers but also with those who came to view.

A performance art show addresses social and political issues through diverse, simultaneous acts

At the gallery’s entrance, Nisha Pinjani was busy making Rangoli patterns — a ritual practised by Hindu women who make it at the front door to encourage goddess Lakshmi to enter their homes. ‘Transgressing Boundaries’ was symbolic of examining the limitations that exist between private and public places, but also the sense of belonging that one acquires practising such a ritual.

The act ‘Indefatigable’ was uncomfortable to watch as young Anusha Khalid was being pushed again and again by a male co-performer. Sitting close by was Amna Khan, who appeared to be engaged in stitching tassels on a dupatta. But that too turned out to be unsettling to observe when one realised that she was cutting her own tufts of hair to make her “memories come alive.” Embroidering on goat testicles was no pretty sight either. Called the ‘Great Sacrifice’, Hurmat ul Ain projected “the theme of sacrifice, rituals of cooking food... patriarchal interference underlying cultural and religious narratives.”

Mujtaba Asif, a graduate from the Department of Visual Studies at Karachi University was dressed as Pir Baba, doling out ‘Pyaar ka Taveez’ meant for the much-needed universal love! One could only wish that his talismans would work.

Karachi-based artist Emaan Mehmood’s ‘Pretty Art For Pretty People’ — a hard-hitting satirical review of the Karachi Biennale 2017 — tickled many a viewer and upset many others.

Lahore-based artist Sarah Mumtaz Ahmed signalled me to help her with a pearl bracelet. Her ‘Stitch Me One At A Time, Fix Me One At A Time’ was a commentary on how women continuously seek assistance from beauty parlours to ‘fix’ them. The artist does not shy away from her own physical disability, finding strength in performances that underline it.

Amin Gulgee lay shirtless and motionless in a corner with black and white body paint, and ‘Paint Me’ written on the wall, inviting viewers to do the obvious. Classical dancer and activist Sheema Kermani rendered an appealing choreography, ‘Woman, Water!’

Noreen Ali’s ‘Leg Piece’ was an amusing take on the morning shows beamed from different television channels. Besides many other foolhardy prescriptions, the recipes on these shows range from getting a fair skin to long and lustrous hair, and much more. Dressed in a sari that conveniently hid the attachment of the two giant feet (made in fabric), her performance provided the much-needed hilarity in the show.

Performance (art) is all about how well the artist has conveyed their idea. Most ‘Mix-Tape (1)’ artists were successful in projecting the psychoanalytic framework in which they constructed their performance, but it is not necessary for performance art to dwell on morbid subjects only. However, a large number of ‘Mix-Tape (1)’ artists preferred to do just that.

“Mix-Tape (1)” was performed at the Canvas Gallery in Karachi on September 15, 2018

Published in Dawn, EOS, October 7th, 2018