Review/Report - A poetic homecoming and sacred reunion of Art, an Artiste and her Guru

A poetic homecoming and sacred reunion of Art, an Artiste and her Guru
- Bijoy Shivram
e-mail: bijoyshivram@gmail.com
Photo credits: Jackie Prajapati

March 23, 2025

Dance is not merely movement - it is memory, emotion and devotion seamlessly woven into rhythm. After an astonishing 45 years, Shefali Nayak's return to the stage was a luminous symphony, an ode to passion, resilience and grace. Under the esteemed guidance of Guru Rema Shrikant, she transcended time, breathing soul into every gesture and evoking the very essence of the art form.

This was more than a performance; it was a poetic homecoming, a sacred reunion of a dancer with her craft. It affirmed the unbroken thread between Guru and Shishya, testifying that the spirit of dance remains eternal, unyielding to time. With an aura steeped in devotion and an unwavering connection to the classical arts, Shefali transported the audience on a mesmerizing journey of divine storytelling, intricate nritta and profound bhakti.

Each piece in her repertoire was exquisitely curated, reflecting Guru Rema Shrikant's astute ability to shape performances that honour the strengths of her disciples. Beyond the brilliance of the composition, Shefali's unwavering dedication, impeccable aramandis, muzhumandis and boundless energy sustained until the final beat. Her recital was a masterful balance of technical precision and emotive depth, seamlessly blending tradition with transcendence, making the evening an experience that resonated beyond the stage.

Shefali Nayak

The evening commenced with a Ganapati Stuti in Gambhira Nattai ragam and khanda chapu talam followed by Todaya Mangalam in adi talam. In continuation with the sonorous invocation of "Pranavakaram Siddhi Vinayakam," in ragam Aarabhi and talam adi, a profound ode to Lord Ganesha. Composed by Oothukadu Venkata Subbaiyar, this Kriti encapsulates the divine essence of Ganesha, revered as the embodiment of the primordial sound - Pranava (Om). Shefali's rhythmic adavus and sculpted postures breathed life into the elephant-headed deity, the remover of obstacles and guardian of all beginnings.

Ganesha is not merely a divine figure but the Mooladhara Moorthy, presiding over the Muladhara Chakra - the foundation of the human energy system, where Kundalini Shakti lies dormant, awaiting divine awakening. In Yoga and Tantra, this chakra, nestled at the base of the spine, is where the Sushumna, Ida, and Pingala nadis converge, the meeting point of lunar and solar energies. As the rhythmic cadence of shenai, mridang, damaru in which he is adept in playing, resonates through the space, the vibrations mirrored the stirring of this dormant energy, inviting its ascent through the chakras towards ultimate union with Shiva, at the Sahasrara.

The performance, rich in symbolism, transcended artistic expression into a ritual, invoking Ganesha's presence rather than merely depicting him. As the evening progressed, the audience was drawn into this sacred geometry of rhythm and stillness, movement and silence, body and soul - an exploration of the shadchakras, the wheel of energies defining existence.

Shefali's rendition of "Sangeeta Samrajya" was a sublime invocation of Goddess Saraswati, intertwining melody and movement. Set in the evocative Mohana Kalyani ragam and adi talam, the kriti extols the Goddess as the divine embodiment of wisdom and music, dwelling in the sacred town of Sringeri. Her nuanced abhinaya painted a tapestry of devotion, capturing the radiance of the Goddess adorned with hibiscus and jewels, residing at the heart of the mystical Sri Chakra. Her serene expressions mirrored the tranquil yet powerful presence of Saradamba, much like the hallowed surroundings of Sringeri itself.

The stage was bathed in an ethereal glow as Shefali embarked on a deeply immersive rendition of the Ardhanareeswara Stotram in Ragamalika and Talamalika by Adi Shankaracharya, extolling the seamless union of Shiva and Parvati - Purusha and Prakriti. Her nuanced abhinaya dissolved the distinction between masculine and feminine energies. She balanced Shiva's resolute strength with Parvati's flowing grace, embodying the tandava-lasya interplay with remarkable clarity. Each transition unveiled another dimension of their cosmic unity, while the interplay of light and shadow accentuated the Nara-Nari elements, enhancing the performance's philosophical depth.

Shefali Nayak

The recital took a mesmerizing turn with the lyrical beauty of "Chaliye kunjan mo," a bhajan by Swathi Thirunal in the evocative raga Brindavani Sarang and talam adi. Shefali seamlessly transitioned from the devotional to the deeply expressive Sringara, embodying Radha and the gopikas, swayed by Krishna's enigmatic presence. Every glance, smile, and gesture carried layers of devotion, longing, and surrender. The koyal's call signifying love's playfulness became a poetic dialogue between nature and the nayika's heart, weaving an enchanting tapestry of emotion and bhakti.

The climax was marked by a rare and exquisite Tillana in Purvi ragam set to rupaka talam, a composition of T. Vaidyanatha Bhagavatar. This Tillana, beginning with the lilting syllables "ni ri ni ri ga ma ga ri sa," demanded both precision and expressive depth. Shefali navigated its rhythmic complexities with remarkable dexterity, her crisp footwork weaving intricate patterns in perfect harmony with the pulsating tala.

Her deep connection with music, influenced by her husband, Ravin Nayak, a renowned Indian light vocalist, added a unique dimension to her performance. Guru Rema Shrikant astutely selected this piece, knowing Shefali would bring to it not just technical brilliance but also an innate appreciation of its melodic and rhythmic nuances.

The recital concluded with the soul-stirring Gujarati bhajan "Chit tu shid ne chinta kare," a timeless composition by medieval poet Dayaram. Rooted in the philosophy of total surrender (Prapatti Yoga), the bhajan echoes the Bhagavad Gita's essence, urging devotees to relinquish worldly anxieties and trust Krishna's will. Shefali's restrained yet deeply expressive abhinaya embodied the contemplative depth of the verses. Complemented by the evocative vocal rendering of her husband, the performance transformed into an immersive spiritual experience, leaving the audience in serene reflection.

The orchestra

The evening was further enriched by Rema Shrikant's expertise in nattuvangam and the impeccable musical support of Dr. Ambika Vishwanath on vocals, Prajesh Nair on mridangam, Nandakumar on flute, Manav Nair on ghatam and ganjira, Shrirang Soni on tabla, and Dhaval Kansara on side rhythm. Their contributions added vibrancy and depth, elevating the performance to a realm beyond the ordinary.

Shefali Nayak's return to the stage was not merely a performance but a spiritual odyssey - an invocation of the divine, a rekindling of artistic fire, and a resplendent reminder that dance, once embraced, never truly leaves the soul.

Son of journalists K Shivram and Amni Shivram, the first Malayali woman English journalist, Bijoy Shivram is an accomplished Indian classical dancer trained in Bharatanatyam and Kuchipudi. A passionate promoter of the arts and a skilled graphic designer, he currently serves as the Vice Principal of JG College of Performing Arts and the Assistant Director (Operations) overseeing 17 JG colleges. He is also the founder of Preksha, an organization dedicated to the promotion of art and culture in Ahmedabad. Since 2020, Bijoy has curated the YouTube series 'Gurudakshina - An Ode to our Gurus,' celebrating the legacy of mentorship and tradition.