Shijith Nambiar and Parvati Menon took the road less traveled to explore ‘Chidananda Margam’.

The dynamism and coordination of Shijith Nambiar and Parvati Menon was remarkable. , Photo Credit: Special Arrangement

Moving away from a linear depiction, how does one infuse passion into a popular varnam like ‘Swami Naan Undhan Adimai’ in Raga Nattakurinji in a way that would be appropriate for a dance duo? Shijith Nambiar and Parvati Menon did the same in ‘Chidananda Margam’ for the opening day of Sri Krishna Gana Sabha festival. ,

Music, movement, space and lighting flowed in a well-organized manner, and the basic ideas of the composition were explored with finesse in the choreography. The spectacular body dynamics and synchronized movements of the two dancers marked by a punch-packed nritta, the juggling of adavas and the use of various spotlights on the stage created a performance that was notable for its visual aesthetics.

The form of Nataraja was described in a very impressive manner through captivating communicators. Except in a few sections where it seemed excessive, the foundation of his thoughts was based on the basic elements of devotion and dedication that this varnam requires.

‘Chidananda Margam’ by Shijit Nambiar and Parvati Menon. , Photo Credit: Special Arrangement

Diagonal lighting was effectively used as a concept to explore the idea of ​​the heroine waiting for her hero in the padam ‘Theruvil Varano’ performed by Parvathy. There were a few places where ideas were spread, but for the lines ‘Pozhudhu Pogaville’ his imagination was full of poetic metaphors.

Following a descriptive idea for the Virutham ‘Pullai Pirandalum’, the song ‘Yeppo Varuvaro’ was rich in intensity of devotion in the elaboration of shijith to attain liberation from the bondage of living in samsaram.

It calls upon a team of committed, creative musical minds as collaborators to create magic with sounds. Here, the team of Binu Venugopal (vocals), Uday Shankar Lal (Nattuvangam), Ishwar Ramakrishnan (violin), PK Sivaprasad (Mridangam) and Rijesh Gopalakrishnan (Kanjira) did just that. Shivam Venkatangam’s lighting design was evocative. Overall, it was a fascinating evening of excellence for Thillai Nataraja.