‘The Sound of Silence’ is an innovative and original dialogue between movement and sound, body and soul, and tradition and modernity. The work reveals the various stages of the Life Chakra or the Wheel of Life. The dance progresses from truth to the fraction of human existence. The piece slowly unfolds as the dancer descends on a rope in the ‘Padmasana’ posture accompanied by the chanting of “OM” in the background. The dancers move in tune with the ‘Gayathri Mantra’. The dance is divided into various segments. The final one – ‘The Trance’ shows the aspirant breaking all earthly chains and temptations, finally attaining enlightenment. The movement finds its momentum beyond the body. The perfectness with which they move their body or the perfection of their body movement is really an eye – opening scene for the viewer. ‘The Sound of Silence’ is a new way of conveying their search for new forms of meaning through body language. The dancers and musicians of Samudra explore through ‘the Mother’, the contradictions and sensuality of the life force that governs us all. The various stages of the Life Chakra or the Wheel of Life namely- Rebirth, Mother, Sensuality, Universal Rhythm and Power, Earth and its Creatures, Trance and Soul are revealed by the dancers and musicians as various sections.

Water is the first need of man, of any living creature. She is Mother par excellence according to the Vedic people. In our Indian tradition, water is extolled with high reverence. In this age of globalization our Mother Goddess is suffering due to our competition. We are in search and running after achievements, unaware about her pains and torturing her by polluting her. The concept of Jalam pivots round reality-myth-reality. The multifaceted role of water- it’s cool and soothing effect, how it creates happiness, its painless attachment, how it is being polluted by the modern man, how it causes Pralayam (disaster), and much more is presented here.

Soorya (Sun) : Sun is the Pooshavu (the One who causes sprouting) The Sun is also the resource of energy and the Deity of Ages. The piece begins with the Aditya Hridaya Mantra – the sacred chanting paying tribute to Sun – the Omnipresent. The piece further moves on to the deception of Sun God in his chariot pulled by seven horses.

Thillana : Tillana in Raga Surya is rooted in traditional structure. It is the approach that makes this unique and innovative. Expansive movements and geometrical precision acts new dynamics to the concept of Thillana.

Ardha Naraeeswaram : Etymologically, the word represents a form of ‘Siva’, which is half woman and half man. Choreographically, this dynamic piece is a search for a complete union of male and female energies – majestic, vigour, juxtaposed with feminine vitality leads to a tranquil state of togetherness.

Panchari : Based on a rhythmic mode unique to Kerala, ‘Panchari’ unfolds the unlimited ways to experience rhythm through ones own body. Panchari admits of different ‘Tala’ permutations and combinations.

Harahara Bhootha Nath : ‘Siva’, is also considered as the Lord of Bhoothas – goblins; hence the name - Bhooth Nath’. The ‘piece’ encapsulates the entire vigor and aggressiveness of this joyous ‘Nritta’.

Samudra Natanam, their unique dance form which derives energy from India’s great cultural ethos, represents a new idiom in the world of creative dance forms.  They call it an encounter between Body and Soul, Dance and Music, Tradition and Modernity.  Madhu and Vakkom the creators of this form describe it as creative dance theatre and not as contemporary dance.  They are both traditionally trained Bharatanatyam dancers who continue to perform traditional repertoires in temples in their hometown.  Their work is rooted in their culture and in the ethos of the stories and myths of this land.  What they are striving for is to construct an alternate vocabulary for dance.  Their belief is that muscles and movements as much as the face and hand gestures can convey bhava and rasa.

Today’s presentation is entitled the ‘Cosmic dance of Shiva’ and is structured as a repertory recital, with a series of vignettes describe various aspects of Shiva woven together.  Beginning with a chant, the Swayambhu, self created Shiva linga is described.  From this emerges a sattvika (serene) form of Shiva.  Sensuality in his form then emerges as his romantic mood and lasya are explored.  The lasya here is not soft, but masculine and firm in it’s grace.  A different interpretation of His Ardhanreeswara form then follows, where union of the male and female, rather than their polarity is the focus.  Shakti here is contained within Shiva.  A celebration of his different moods then follows in a Tandava piece, where various bhavas, anger, joy and sensuality are explored.  The composition concludes with a vigorous dance, where Shiva’s form as the destroyer and as the ultimate crucible of cosmic energy is represented.