On  9 March 2025, Boston residents and visitors were treated to a thought provoking 70-minute, nuanced and delicately crafted interpretation of Farid ud-Di Attar’s Persian poem, The Conference of the Birds, at the Arrow Arts Theatre in Boston by Anikaya Dance Theatre

The diverse species of birds, led by Hoopoe, imaginatively projected using motion capture as a golden-hued bird, embark on a quest to find their true king, the Simorgh, who represents the divine. Their journey involves traversing seven valleys, each representing a distinct aspect of the human experience: quest, love, insight, detachment, unity, wonderment, and the valley of poverty and annihilation. While many abandon the perilous path, those who reach the land of Simurgh realise that the Simurgh resides within themselves.

Within the allegorical framework of this poem, Wendy Jehlen, a Bharatanātyam trained dancer and choreographer, ingeniously interweaves the narrative of our time. As the birds seek belonging in their new environment, echoes of struggles associated with migration resonate. As they progress from the valley of quest to the valley of love, the Hoopoe transforms into an Alif, the first letter of the Arabic alphabet, which symbolises oneness and the body of the beloved. The motion capture movements of the Hoopoe mirror the choreography of the dancers, creating a visually striking and symbolic representation. 

In the valley of detachment, a poignant moment occurs when the dancers leave behind fragments of their clothing, which they subsequently retrieve to demonstrate their unity and integration into a cohesive whole. In the subsequent journey to the valley of Unity, the movement is inspired by dhikr/zikr practices primarily from Indonesia and an island off the coast of East Africa. This leads to a combination of fear, wonder, and disorientation caused by the realisation of the enormity of the reality of unity. Towards the end, they all perform movements of a large bird, the Simorgh, symbolising the universal message of all cultures and religions: that the divine resides within us, and we, in turn, reside within the divine. 

Throughout the narrative, Wendy’s profound comprehension of Judeo-Christian-Islamic traditions, Persian language, coupled with her experience in collaborating with Deaf-Blind individuals to directly access dance, and drawing upon the insights and responses garnered from workshop participants conducted in various regions worldwide, contributes to the narrative’s richness, depth, and sensitivity. 

Unconventional in its narrative structure and form, Conference of the Birds is most appreciated when  one has already read the poem. If not, one is treated to the palpable energy and shared kinship the dancers convey throughout the performance.  Like the droplets of water that form a vast ocean, Anikaya’s superb ensemble cast of dancers, Wendy Jehlen,  K. Sarveshan, Ching-I Chang, Ibrahim Abdo, Marcel Gbeffa, Yasin Anar, Danny Pamungkas, and Yousef Sbeih, each trained in different movement practices from  Bharatanatyam, Javanese, to Capoeira, brought fluidity, muscularity and cohesiveness to the imagery. They embodied the universal quest for seeking the divine that transcends all man-made distinctions of caste, creed, race, and religion. 

The play is directed by choreographer Wendy Jehlen in collaboration with an ensemble of dancer/choreographers from Benin, Brazil, Egypt, Indonesia, India/South Africa, Palestine, Taiwan and Turkey, with original music and projections created by an international team from France, Iran and the US. 

During our conversation, Wendy expressed her deep connection to this production and its ensemble cast. She emphasised the significance of every story and the importance of comprehending the broader context in which they unfold. The Conference of the Birds stands as a timeless tale that serves as a profound reflection of our own selves. 

by

Anita Vallabh