An elevating performance by Parvathy Menon and Shijith Nambiar

By Anita Vallabh

The curtains opened to a smoky, illuminating space, revealing instantly the aesthetic criteria of the performance: utilising the art of visual presentation to suggest an immersive space– of illusion and illumination. As the soulful voice of Binu Venugopal filled the Krishna Gana Sabha auditorium, on 13 December 2024, Parvathy and Shijith Nabiar commenced their performance with a verse from Sri Narayana Guru’s kriti: Adu pambe. They explored the movement of Kundalini shakti as a coiled snake seeking union with Siva at the Sahasrara chakra. In the moment of their blissful union, begins Dikshitar’s Ananda natana prakasam.  Seeking to highlight and communicate the idea and philosophical essence of this ever-enchanting song, the duo communicated various ideas of anandam and prakasam thoughtfully, deliberately eschewing established motifs. The depth of their research and self-reflection was evident in the choreography and depth of rendition. I was taken by the resourcefulness and courage to reimagine a Kalakshetra Classic.

From there, they moved on to the famous natakurinji varnam by Papansam Sivan, Swami naan undan.  A stand out moment was the elaboration on the concept of Bhootesa, the creation of the universe, the duality of Siva-Shakti– of stillness in motion and motion in stillness. Parvathy and Shijith showcased technical proficiency, rhythmic precision, and emotional depth, integrating their skills with a thoughtful understanding of music, space, and lighting.

Parvathy’s interpretation of Muthu Tandavar’s Theruvil varano stood out. Rijesh Gopalakrishnan’s khanjira playing subtly evoked Lord Siva’s distant arrival and passing, complementing the nayika’s anticipation. The harmony between sound and emotion added depth to the performance. In the sanchari, the delicate play of emotions on Parvathy’s face– of love, longing, and despair suggests the veiled line between the real and the surreal.

Through the performance followed by Shijits’ Eppo varuvaro by Gopalakrishna Bharati and the duo’s Chidambaresvara stotram, Parvathy and Shijith’s performance and choreography suggested timelessness and contemporaneity within a traditional framework. In his solo, as Shijith, portraying the devotee, played the mridangam, he conveyed a sense of devotional fervor and selfless surrender through his angika abhinaya

Their performance showcased numerous commendable aspects, but a few areas warrant attention. It is important for them to strike a balance, ensuring that the rhythmic and movement elements do not overshadow the emotional essence of the song. Additionally, they should reconsider certain repetitive choices, such as beginning every song with the anupallavi and the overuse of smoke effects.

Parvathy and Shijith’s artistic vision was rendered by a stellar team, which included, Udayshankar Lal (nattuvangam), Binu Venugopla (vocal), Siva Prasad (mridangam), Easwar Ramakrishnan (violin), Rijesh Gopalakrishnan (khanjira), and Sivan Vengitangu (lights).

Their performance seamlessly blended an exploration of abstract philosophical ideas with refined abhinaya and technique, encouraging the audience to reconsider the possibilities beyond traditional performative boundaries.

I was reminded of artist Saya Woolfalk’s words at the Museum of Art in New Mexico: “The idea that we can create collective imaginings together and then actually enact them in the world—this just might be the place of freedom. Even if it’s through fantasizing, even if it’s just for a moment, a portal where that imagining can happen—this may be the space where liberation is born.”

Anita Vallabh is an Adjunct professor at the University of Hawaii, Author, Yoga instructor and Dance critic. She lives in Boston, USA.

Photo credits: Season Unnikrishnan