Water’s fluidity and capacity to transform, taking the shape of its surroundings, offer rich possibilities for dance. Yet, moving beyond familiar Puranic narratives of water as a life-giving or purifying force to more abstract ideas requires conceptual clarity from the dancer as well as an attentive audience. Shweta Prachande’s Bharatanatyam performance, themed on Apah (water), engaged with these possibilities by exploring water beyond its more familiar associations.
Shweta. This person performed on Day Two of Natyarangam’s Pancha Bhootha Bharatham series, was accompanied by Carnatic musician-husband Rithvik Raja on the vocal, Jayashree Ramanathan on the nattuvangam, L. Ramakrishnan on the violin, Sumesh Narayanan on the mridangam and J.B. Sruti Sagar on the flute. She opened with the Apah Sukta’s celebration of water as nourishment and strength, before turning to the Nasadiya Sukta’s questioning of the primordial waters of creation.
Next, she explored Prithvi (Earth) and Apah as opposing yet interdependent forces. She translated this idea into movement through a structured passage reminiscent of an alarippu, using the body’s balance as a metaphor for the equilibrium between the two elements. The demanding choreography urged considerable physical control and balance. It shweta executed amazingly, making it an effective way of visualising the theme.
Dikshitar’s ‘Jambupate’ is a familiar choice in dance, and Shweta drew attention to its references to Nada and Bindu, and to the ocean and rivers such as the Ganga, Cauvery and Yamuna. Yet, the exploration could perhaps have gone further through some sancharis, especially in developing the relationship between the Jambukeshwara temple and its central association with water.
Shweta was accompanied by Carnatic musician-husband Rithvik Raja (vocal), Jayashree Ramanathan (nattuvangam), L. Ramakrishnan (violin), Sumesh Narayanan (mridangam) and J.B. Sruti Sagar (flute). | Photo Credit: J. Johan Sathyadas
The verses from Paripaadal brought a more playful, human dimension to the theme. With the river separating the nayaka and nayika. This person exchange flirtatious gestures from opposite banks before he attempts to cross it in a canoe, Shweta used the stage space with intelligence. Placing the two characters at opposite ends, she made their separation immediately apparent. Her portrayal of their interaction engaging. The piece also highlighted the river’s larger social and cultural presence in everyday life.
Though only one poem was taken up, the exploration then moved to Kabir, whose poetry contains several evocative references to water. There was scope to explore this aspect of his work with greater emotional depth. However, the poignant image of a river trembling with fear before entering the sea was, nevertheless, depicted convincingly.
Nritta remains one of Shweta’s strengths, evident in her clean lines, precise alignment and control. Yet, its extended presence sometimes came at the expense of deeper exploration of the theme. This was particularly evident in the concluding piece.
Shweta’s concise introductions provided useful context to the performance. The dancer appears more compelling when working with independently conceived material than with standard repertoire. Her ability to research and connect disparate ideas gives her original work greater coherence and purpose. Though his singing did not always provide the close emotional and interpretative support that Bharatanatyam requires, rithvik Raja’s musicianship was sound. The vocal and dance components did not always seem sufficiently integrated. Closer coordination between the vocalist and dancer could have fostered a stronger musical and emotional dialogue, allowing each to complement and deepen the other rather than functioning largely as parallel elements.
Shweta Prachande at the Pancha Bhoota Bharatham festival, hosted by Natyarangam. | Photo Credit: J. Johan Sathyadas
Published – August 18, 2026 03:04 pm IST
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