KOCHI: Jayachandran Palazhy, a well-known choreographer and the artistic director of Attakkalari Centre for Movement Arts, Bengaluru, recently brought his new dance production, ‘Sonnet of Samsara’, to Thiruvananthapuram. It was indeed an evening to remember.
Organised by the Trivandrum Centre for Performing Arts under the guidance of Kukku Parameswaran, the unique performance was held at the packed Udaya Palace Convention Centre. It certainly impressed the audience with its mix of global and local stories, using the expressive language of movement to explore themes of life, memory, and human experience.
As the curtains rose, the stage was changed into a canvas of light, shadow, and sound, setting the mood for a one-hour journey. The lighting was a balance of soft blues and fiery reds, which seemed to pulse with the dancers’ movements, their every expression and gesture.
The soundscape, which combined traditional Indian music with electronic notes, added an extra layer of depth.
As the dancers glided across the stage, their bodies seemed to speak a language, touching the intellect as well as the emotions of the audience.
“Whenever I create a new work, it starts with something I feel deeply about. Over the last few years, I have been thinking about the world we live in, how it’s a finite system with limits on how much development it can sustain,” says Jayachandran.
“I felt strongly that we need to learn how to manage and share our resources, whether cultural, intellectual, material, or financial, more thoughtfully. Connected to these thoughts, I began thinking about who we are as individuals, shaped by memories, myths, dreams, and experiences. Even though we live in the present, we have all these layers. Sometimes, we don’t get a chance to recognise that.”
Contemplating these aspects led to the concept of ‘samsara’ - the cyclical nature of life and the universe, how one’s existence is part of a vast, interconnected universe, Jayachandran adds.
“I also wanted to explore myths and memories, not just personal ones but those passed down through generations,” he says.
“Inspired by thinkers like Joseph Campbell, I viewed each of us as heroes on our own journeys, facing challenges and transformations. Basically, the work is a poetic reflection on human experience, shaped by stories, dreams, and our collective consciousness.”
‘Sonnet of Samsara’ goes beyond exploring the cyclical nature of existence and karmic transformations. It also highlights modern urban challenges and global issues such as environmental crises, climate change, wars, and social divisions.
Interestingly, the performance combines elements of Indian traditions like Kalarippayattu and Bharatanatyam and uses a mix of ritual art, stylised movements, and everyday gestures to engage the audience.
“Movement, like any art form, is about creating patterns. Just as visual artists use simple colours or patterns to evoke emotions without a figurative image, movement can do the same by connecting the body to larger universal energies,” Jayachandran says.
He explains that the performance becomes an abstract space where gestures, patterns, and movements suggest emotions or ideas without explicitly stating them. And here, in this performance, the choreography process begins by accessing memories and histories embedded in our bodies, creating movements that reflect these ideas.
“Through improvisation and meditation, movements evolved to suggest not just physical gestures but larger emotional and philosophical concepts. These movements, whether micro or macro, occupy multiple spaces simultaneously, requiring the audience to decipher the deeper meanings in the performance,” Jayachandran says.
The music, a critical component of the performance, is also a ‘character’ as the dancers themselves. “The impact of movement became profound, especially when combined with music,” says Jayachandran.
“We used mizhavu and idakka for the live music, along with a pre-composed score by M D Pallavi. She is a talented singer and composer, and her music adapts beautifully to the core idea of the performance. Also, we worked with a diverse group of artists, including Japanese digital artist Kunihiko Matsuo, Kalaripayattu aces, and mizhavu percussionists, bringing together different musical and cultural elements to the performance.”
There are 17 performers and three percussionists involved in this production. This is their third performance, following shows at the Serendipity Arts Festival in Goa and the Dhauli-Kalinga Mahotsav in Odisha.
“It’s always exciting to bring this work to a new audience. I must say the Trivandrum Centre for Performing Arts and Kukku Parameswaran are doing something truly unique and beautiful by taking the risk to present serious, committed performances that go beyond mere entertainment,” says Jayachandran.
“I really commend their efforts, as well as the dedication of the entire team involved. Also, Kerala has such a rich cultural history, and the audience here has always been fantastic whether it’s a musical night, a dance performance, a film festival, or an art exhibition. It’s been a while since we performed here, so I am really happy to reconnect with the audience again.”