Wednesday 28 January 2026
Photography by Ken Leanfore
Review by Paul Neeson (Arts Wednesday)
The performance began with a voice over explaining the story behind Songs of the Bulbul. In Persian culture, bulbuls (or nightingales) are revered for their songs that are often directed to a rose and symbolise earthly beauty and the desire for spiritual enlightenment.
Inspired by an ancient Sufi myth, a bulbul (or nightingale) is held in captivity, despairing for its freedom. Gradually it is starved of light, making it sing all the sweeter, eventually having its eyes plucked out to produce the sweetest song of all just before it dies. An ancient myth it may be, but it could easily be a metaphor for what is happening in Iran today. However, it essentially explores the soul’s journey towards divine love and enlightenment.
Aakash Odedra is the creator and solo dancer in this production, that combines Kathak dance and Sufi storytelling. Kathak dance originated in Indian temples and moved to the royal courts during the Mughal period, picking up Persian influences along the way. After a decline during the British era, it was revived and is now a popular, internationally recognised art form. It involves complex, intricate footwork and rapid, controlled spins, and immediately we knew we were witnessing an expert dancer with Aakash, whose footwork was mesmerising in its speed and accuracy.
His bird impressions were lifelike, with tiny twitching beak gestures, and puffing of the breast. His arms became wings that bent and folded/unfolded just like a bird. The facial expressions and graceful hand movements are part of the Sufi tradition of storytelling. And on occasions the whirling resembled what a Sufi dervish would prescribe with the right hand open toward the sky to receive blessings and the left hand turned downward to deliver them to the earth.
The staging (Emanuele Salamanca) and lighting (Fabiana Piccioli) were minimal but evocative, reflecting and embellishing the narrative. There were intermittent rain storms of rose petals throughout the performance, evoking the Persian world and suggesting an exotic aroma. The bulbul’s final breath depicted with smoke exhalation was truly inspired genius that elicited a collective sigh from the audience.
The score (Rushil Ranjan) played a major part in the show, being a dense blend of traditional instruments – like the tabla (Janan Sathiendran) and Indian wooden flute or bansuri (Praveen Prathapan) – and orchestral instruments with rich vocal songs and chants. The rhythms were infectious and intricate, motivating the fast dance steps and leaps, choreographed by Rani Khanam.
All our senses were stimulated in this visual, auditory and olfactory Persian feast, replete with ancient spiritual messages. The Persian and Indian diaspora was well represented in the audience and the rapturous standing ovation spoke to their, and everyone’s, delight.
The season runs at the Sydney Opera House before the tour moves on to Melbourne, Perth and then America.
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