Dance for Dance 2025 - Day Two

Day Two

The second day felt like a thoughtful bridge between generations and genres. Curated with an eye for both the rising student and the established master, the evening moved seamlessly from the structural discipline of a Bharatanatyam varnam to the psychological depth of Koodiyattam, and finally to the visual grandiosity of an ensemble production.

Ashwathy Suresh

The evening opened with Ashwathy Suresh, whose recital was part of Kalavaahini’s junior scholarship showcase. For an artist early in her career, Ashwathy possessed an unmistakable stage presence. She chose the formidable Navaragamalika varnam, Samiyai azhatthodi va, a composition by Dandayuthapani Pillai that has tested many veterans before her.

Supported by a stellar ensemble, including Uday Shankar Lal’s crisp nattuvangam and Binu Venugopal’s emotive vocals, Ashwathy brought a refreshing energy to this staple of the margam. What made her performance stand out were the subtle, intelligent deviations from the expected path. Through well-placed pauses and inventive rhythmic patterns (with jatis composed by Shijith Nambiar), she managed to make a familiar work feel new. Her ability to command the space while maintaining the technical integrity suggests she is an artist to watch.

Sooraj Nambiar

The program then shifted to Koodiyattam with Sooraj Nambiar’s Yayati: Desire and Life. Drawing from a rich tapestry of sources — from the Mahabharata to Girish Karnad’s modern play — Sooraj tackled the eternal tug-of-war between King Yayati’s insatiable desires and his moral duties.

Sooraj’s performance was noteworthy. Employing pakarnnattam (improvisational storytelling), he explored Yayati’s character with measured clarity. His abhinaya sharp and sustained that it was difficult to look away. A particularly ingenious touch was the use of a sub-screen positioned to the left of the downstage, which provided subtitles and context. This technical addition allowed the audience to engage deeply with the intricate Sanskrit theatre without losing the visual rhythm of the performance.

The exchange between Sooraj and the percussionists, Kalamandalam Rajeev, Kalamandalam Vijay, and others, was engaging. While the build-up was masterfully paced, one almost wished the resolution had been allowed to linger a bit longer to match the incredible tension of the middle act. It was a masterclass in how ancient forms can speak directly to modern dilemmas.

Kaavyam: Poetry in Motion

The finale was Kaavyam, a production conceived and choreographed by Shijith Nambiar that aimed to visualise the inner consciousness of legendary composers. Featuring a disciplined nine-member ensemble, the work was a testament to the power of group choreography.

The opening piece, set to T.M. Krishna’s rendition of Amba Kamakshi, was visually stunning. Parvathy Menon anchored the segment with a presence that captured the Goddess’s prowess without ever veering into melodrama. The choreography moved from literal representations of the deity (showing the three eyes of the gods) to a more abstract, nirguna state of devotion. The use of the ensemble to create geometric motifs in space turned the music into a visible architecture.

This was followed by a spirited swarasahitya manjari duet. The jatiswaram, sung by Deepu Nair, showcased Shijith and Parvathy as distinct artists with their own flavours, yet their synchronicity in the faster passages was a highlight.

One of the most heart-warming segments was the Purandara Dasa piece, Jagadhoddhaarana. The use of a thirai (traditional curtain) added a sense of mystery, while the inclusion of a child dancer as the young Krishna brought an element of pure vatsalya bhavam to the stage. The well-choreographed randomness of the dancers’ entries and exits, paired with dim, atmospheric lighting, made the whole sequence feel like a dream; as if we were peering into the very mind of the poet-saint.

The evening concluded with a high-energy rendition of Sankara srigiri nadha Prabho. Centered on the spirit of Chidambaram, the choreography was exuberant and free, acting as a soothing release after the emotional weight of the earlier pieces.

By Pranati Goturi

PHOTOS : R. Prasanna Venkatesh