‘Parikrama’ is a state of mind which forms an integral part of the human psyche. It plunges into and emerges from the cycle of human birth and death, writes Padmashri Shobha Deepak Singh. The following lines from Katha Upanishad formed the crux of a recent performance of Shriram Bharatiya Kala Kendra in the national capital.

Beyond the objects is the mind

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Beyond the mind are the senses

Beyond the senses is the intellect

Beyond the intellect is its own identity

Beyond its own identity is the non-manifest

Beyond the non-manifest is the spirit

Beyond the spirit there is nothing

And where there is nothing

There is absolute blissful consciousness

The three-day Kendra Dance Festival exhibited three unique shows styled on “Meera, Parikrama, and Karna’ by incorporating Kathak, Bharatanatyam, Odissi, Mayurbhanj Chhau, and various other Indian folk forms.

“There are moments in history when a nation asserts itself—not just through its borders, but through its identity. The recent events have reminded us of the price of freedom and the value of unity. Through Meera, Parikrama, and Karna, we share stories that are rooted in Indian consciousness and resonate with our contemporary challenges. These are not just performances—they are acts of remembrance, strength, and cultural assertion,” Singh, festival director, said.

Choreographed in the martial and expressive styles of Mayurbhanj Chhau and Kalaripayattu, Parikrama delves into the elemental cycle of existence—life, death, and rebirth—mirroring the nation’s capacity to regenerate with strength after every trial. Inspired by the Panch Tattvas and layered with insights from the Padma Purana, the production is a meditative journey that resonates deeply in times of renewal and reflection.

Shivam Sahni (22), who played the central character of ‘Atman’ in the production, said he went through gruelling sessions to portray ‘atma’ or the soul which is a non-being, that is, which is not bound by any form, looks or figure.

“Atman is simply energy, nothing more, nothing less. I am not a trained dancer. But I have grown up watching the productions of Sriram Bharatiya Kala Kendra. The platform has been instrumental in reviving the vibrant tribal dance form ‘Mayurbhanj Chhau’. This dance originated from Mayurbhanj district of Odisha. It is one of three distinct styles of Chhau dance, the others being Purulia Chhau from West Bengal and Seraikella Chhau from Jharkhand. Unlike the other styles, Mayurbhanj Chhau is performed without masks.

“So, we have used this style to showcase and speak about life, death, and rebirth. In this form, it is not the face but the body which expresses,” he told The Statesman.

The show was also inspired by ‘Panch Tattvas’ and the ‘Padma Purana’ or the meditative journey of strength, regeneration, and spiritual reflection.

Guru Shashidharan Nair, who choreographed the dance along with Raj Kumar Sharma, said ‘Parikrama’ is a 1994 production.

“The show is fully abstract as it talks about non-beings like fire, ether, happiness, sorrow, among others. So more than facial expressions, the body language of the artists spoke for these emotions. For instance, I used the hair of women artists to portray fire,” he said.