In Conversation with Swaroopa Prameela Unni – Resistance | ചെറുത്തുനില്പ്
In this edition of In Conversation, we shine a light on Resistance | ചെറുത്തുനില്പ്—a new show by Swaroopa Prameela Unni, premiering at The Blue Room Theatre from the 8th to the 11th of October. The show is a compelling solo dance-theatre performance that explores a woman’s right to bodily autonomy, shining a light on the various forms of violence—emotional, physical, financial, and sexual—that women endure in society. We caught up with Swaroopa Prameela Unni to dive into the creative process behind the work and what audiences can expect from this thrilling new production.
What motivated you to apply to be part of The Blue Room Theatre’s 2025 season, and what drew you to this project?
This project has been with me for years. As a woman trained in Mohiniyattam, I’ve often felt the tension between tradition and autonomy. How a form meant to celebrate femininity can also become a tool of control. Resistance is my way of reclaiming that space.
I applied to The Blue Room because it supports work that’s bold, political, and personal. I knew this was the right home for a piece that explores how women resist – through their voices, their bodies, and their stories – and what that resistance can look like when it’s fully embodied on stage.
This project is deeply personal. I’m driven to tell these stories in a way that is honest, political, and embodied – and The Blue Room felt like the right place to do that.
How has the creative journey been so far—from concept development to rehearsals?
This journey has been deeply personal and collaborative. The initial spark for this work came a few years ago after reading the Malayalam novel Sugandhi Enna Andal Devanayaki (Sugandhi Alias Andal Devanayaki), which beautifully weaves myth and reality and introduced me to the life and legacy of Dr. Rajani Thiranagama. Around the same time, experiencing Mana Wāhine by Ōkareka Dance Company had an equally powerful impact – both works stirred something deep in me and quietly planted the seeds for what would become Resistance | ചെറുത്തുനില്പ്.
I was also influenced by a PhD thesis written by a former colleague, Sripriya Somashekhar, which explored family and domestic violence within the Indian diaspora in Aotearoa/New Zealand. The research identified three recurring barriers that often prevent women from seeking help: shame, stigma, and patriarchy. Those themes have echoed throughout the creative process and deeply shaped the emotional core of this piece. You can see traces of Mana Wāhine in my choreography, along with the movement language inspired by Pina Bausch’s Kontakthof.
It’s been a joy working with my close friends and music collaborators, Sandeep Pillai and Jyolsna Panicker, who have created a powerful sound world for the piece. I’ve also loved collaborating with Nat Mijat, my lighting designer – her sensitivity and creativity have brought a new dimension to the work.
Working with Mohiniyattam has been both beautiful and challenging. It’s a graceful, expressive form, but its slower tempo doesn’t always align with contemporary structures. Finding a way to honour the form while pushing its boundaries has been a big part of the process. I love dancing Mohiniyattam! It feels like home in my body.
What has stood out to you during the rehearsal process—any unexpected discoveries or moments of growth?
One of the most significant discoveries has been the extent to which the work continues to evolve within the body. Choreographies I thought were finished keep shifting as I rehearse. I’ve learned to let go of rigidity and allow the piece to breathe and respond to my physical and emotional state each day. So, there’s a lot of improvising on the spot. I like that uncertainty.
Working with Mohiniyattam has also brought unexpected challenges. It’s a form I love deeply, but its slow, circular pace sometimes sits in tension with the urgency of the themes I’m exploring. Finding ways to balance both the form’s grace and the content’s intensity has been a significant area of growth.
Collaborating with my team has been another highlight. Conversations with Nat Mijat (lighting) have helped me see the choreography in new ways, and the music created by Sandeep Pillai and Jyolsna Panicker continues to reveal emotional layers I hadn’t anticipated.
I’ve realised how much this project asks me to be present, not just as a performer, but as a person telling a story that’s political, personal, and embodied.
How has the collaboration with your cast, crew, and creatives shaped the work and your vision for it?
This work wouldn’t exist without collaboration. It’s grown through conversation, experimentation, and a lot of trust. Working with Sandeep Pillai and Jyolsna Panicker on the music has brought emotional depth I couldn’t have created alone. Their sound world has shifted how I move and feel the piece.
I was unsure how I could make the Kaos Room feel like my own. Nat Mijat, my lighting designer, helped me see the space in an entirely new way – often prompting me to reconsider how light can carry meaning, create tension, or even hold silence. Her perspective has expanded the way I approach the work, stretching my original vision in ways I hadn’t anticipated.
This piece is stronger because it’s not just mine; it’s been shaped by many voices, each bringing their own truth into the room. I was also fortunate to be awarded a two-week residency with the Arts and Culture Trust to develop this choreography.
What does having your show programmed in The Blue Room Season mean to you as a lead creative?
Having Resistance | ചെറുത്തുനില്പ് programmed in The Blue Room’s season means so much to me as a lead creative. It’s an important validation, not only of my work but of the themes I’m exploring around identity, resistance, and embodiment. The Blue Room’s respected reputation in the arts world gives this project credibility and visibility that’s hard to achieve otherwise.
The Blue Room – known for supporting bold, experimental, and deeply personal work, so being part of their season feels like joining a community that truly values innovation and risk-taking. This platform allows me to push my practice further and connect with audiences who are open to challenging and urgent stories.
For me, it’s both a professional milestone and a personal affirmation that my voice and the stories at the heart of Resistance have a rightful place on stage and in the wider conversation.
As you move closer to opening, what are you most excited—or even nervous—about sharing with audiences?
I’m eager to see how audiences connect with the layered emotions and textures of the work, especially how the blend of Mohiniyattam, spoken word, music, and digital media creates a unique experience.
At the same time, I’m a little nervous about how the complexity of the piece will be perceived – whether the nuances will be felt, and if the audience will be willing to lean into the discomfort and uncertainty it invites. But that nervousness comes with hope and anticipation. I want the work to spark reflection and conversation, and I look forward to seeing it come alive in front of an audience.
What is your show bringing to the Perth arts scene, and what do you think would help strengthen the local arts ecosystem?
I hope it contributes to a broader conversation about representation and the importance of diverse, intersectional stories on our stages. Resistance | ചെറുത്തുനില്പ് brings a fresh, deeply personal, and culturally layered perspective to the Perth arts scene.
To strengthen Perth’s arts ecosystem, I believe we need more sustained investment in artist-led, cross-cultural, and experimental projects like this one. Spaces where artists from diverse backgrounds can take risks and fully develop their voices. Building stronger networks between artists, venues, and communities will also foster collaboration and resilience in the long term.
Image by Siddharth MP