Shijith Nambiar and Parvathy Menon took the route less travelled to explore ‘Chidananda Margam’

Shijith Nambiar and Parvathy Menon’s dynamics and coordination were noteworthy.
| Photo Credit: Special Arrangement

Moving away from a linear depiction, how does one infuse vigour to a popular Varnam like ‘Swami naan undhan adimai’ in raga Nattakurinji, in a manner that would befit a dancing duo? Shijith Nambiar and Parvathy Menon did just that in ‘Chidananda Margam’ for the inaugural day of Sri Krishna Gana Sabha festival. ‘

Music, movement, space and lights flowed in an orchestrated manner, and the core ideas of the composition were explored with finesse in the choreography. The brilliant body dynamics and synchronised movements of the two dancers marked by a punch-packed nritta, juxtaposing of adavus and use of different spotlights on stage created a performance, noteworthy for its visual aesthetics.

The detailing of the form of Nataraja was done through captivating sancharis, with great impact. Barring a few sections where it seemed in excess, the foundation of their ideas was based on the core elements of devotion and surrender that this Varnam warrants.

Shijith Nambiar and Parvathy Menon’s ‘Chidananda Margam’.
| Photo Credit:
Special Arrangement

Diagonal lighting was used effectively as a concept to explore the idea of the heroine waiting in anticipation for her hero, in the padam ‘Theruvil varano’, rendered by Parvathy. There were some places where the ideas were stretched, but her imagery for the lines ‘Pozhudhu pogavillaye’ was filled with poetic metaphors.

After a descriptive ideation for the virutham ‘Pullai pirandalum’, the intensity of devotion in Shijith’s elaboration of seeking liberty from the bondage of being in samsaram for the song ‘Yeppo varuvaro’ was enriching.

It calls for a team of committed, creative musical minds as collaborators to create magic with the sounds. Here, the team consisting of Binu Venugopal (vocals), Uday Shankar Lal (nattuvangam), Eeshwar Ramakrishnan (violin), P K Shivaprasad (mridangam) and Rijesh Gopalakrishnan (kanjira), did just that. Shivam Venkatangam’s lighting design was evocative. In all, it was an engaging evening of excellence in this ode to Thillai Nataraja.