Places, experiences and memories that shape an individual during their formative years often sow the seeds of their adult persona. For artistes, these impressions find expression in their creative pursuits. ‘Wanderland’, a multi‑media production by Shastram, conceived by writer‑director Ghirija Jayarraj and recently presented at Alliance Française, was one such work — inviting us to journey with her through an artistic path shaped across geographical boundaries.

The performance unfolded as a series of fragmented visuals. Film footage of places and people from varied backgrounds across different time zones, archival scrapbook pictures, recent photographs and interviews played on the celluloid screen. Interspersed with these were live dance performances and theatrical sequences woven into the narrative — gradually merging into a cohesive collage of forms and memories.

Moving between Sri Lanka, India, and Australia — the three places that moulded her life — the narrative offers insight into Ghirija’s varied experiences: from displacement and family travails during wartime in Sri Lanka to her new beginnings in Australia. Grappling with a sense of belonging, she sought refuge in Bharatanatyam, reconnecting with her cultural heritage to navigate an identity crisis.

Dance sequences in varied styles, performed with finesse by Avijit Das, Prateeksha Kashi, Sruthi K.P., and Shwetha Krishna, along with younger dancers — Shwetha Jaishree, Sreejith, and Arivu Selvan — were seamlessly integrated into the film’s narrative. Small anecdotes and stories accompanying each segment were both engaging and clarifying, underscoring their relevance to the theme. Cinematography and art direction were by Pradeep Kaliyapurath.

The presentation sought to build a bridge between past and present through the struggles of displaced communities and individuals. However, the numerous pieces of footage featuring conversations with dance gurus, combined with an excess of scrapbook images, diluted the seriousness of the production’s intention. Certain sections of theatrical interventions felt highly contrived and out of place. A tighter edit of the footage, perhaps, would have created a stronger impact.

Overall, the performance moved beyond the realm of being a mere dance narrative, engaging the viewer and inspiring a mode of self‑reflection.

Earlier in the evening, another production, ‘Mukuti’, directed by Ghirija, was presented by Shruthi K.P. Using a simple nose ring as a metaphor, various questions of a dancer’s identity were explored through a blend of music, dance, theatre, and film. The work traced the evolution of Mohiniattam through a film enactment anchored by a choreographic work of Nirmala Panicker. The world of Meenakshi, her passion for dance, the pressures of social structures and her emotions were beautifully captured on film. However, the live dance sequences did not match the impact of the screen. Recurring references to the mukuti provided an interesting link, with parallel streams reflecting the dichotomy between two eras visualised effectively.