Shweta Prachande explores water’s many moods in Bharatanatyam work ‘Apah’

Bharatanatyam has always had the capacity to hold both the intimate and the immense—everyday feelings alongside elemental forces. In Chennai, young Bharatanatyam artiste Shweta Prachande brought that strength to the fore with **‘Apah’**, a presentation that placed **water** at the centre of its idea and imagery.

Staged at **Natyarangam’s Pancha Bhootha Bharatham festival** at **Narada Gana Sabha**, the work stood out for choosing an **unusual theme** and staying with it thoughtfully. Rather than treating water as a single symbol, ‘Apah’ explored its many facets—inviting audiences to notice how one element can suggest multiple states of mind, textures of movement, and shades of emotion.

A classical form, a fresh theme Pancha Bhootha Bharatham, as the title suggests, draws attention to the five elements that have long shaped Indian philosophy and artistic imagination. Within this context, ‘Apah’ (water) becomes an especially rich subject: it can be gentle, forceful, reflective, life-giving and unpredictable, all at once.

Shweta Prachande’s approach underlined how classical dance can remain rooted in tradition while still finding room for contemporary thematic choices. By working with an elemental idea, she kept the piece accessible—even for those who may not follow every nuance of Bharatanatyam’s vocabulary—because the central reference point is universal. At the same time, the theme demanded discipline: the dancer had to make the audience *feel* the changing character of water through the body, without leaning on spectacle.

Festivals such as Natyarangam’s provide an important platform for this kind of experimentation within a classical frame. They allow emerging artistes to take artistic risks while staying aligned with the grammar and aesthetic rigour that Bharatanatyam requires.

Water as movement, mood and metaphor What makes water compelling on stage is its range. It can suggest serenity and stillness, but it can also carry velocity and power. It can nurture and cleanse; it can also overwhelm. Translating these contrasts into dance calls for careful modulation—of pace, energy, and expression.

In works centred on an element, the intent is not merely to “describe” nature, but to **translate qualities** into movement and feeling. In ‘Apah’, the theme offered a structured way to move between different emotional registers, while remaining anchored in a single, coherent concept.

The choice of water also resonates deeply in an Indian setting. Across regions, rivers, rain and the sea are not only physical realities but also cultural presences—woven into memory, music, ritual and livelihood. When a classical performance engages with such a theme, it can prompt the audience to look again at something familiar, noticing its beauty as well as its complexity.

Chennai’s stage for young classical voices That this work was presented in Chennai—one of India’s most significant hubs for Bharatanatyam—adds to its meaning. Narada Gana Sabha’s spaces have long hosted a wide spectrum of Indian classical arts, and Natyarangam’s programming continues to create room for thematic presentations alongside traditional recital formats.

For young artistes, these platforms are not just performance opportunities; they are places where artistic identity is shaped. A piece like ‘Apah’ signals a willingness to engage with new ideas while honouring the classical ethos—an encouraging direction for audiences who value both continuity and creative growth.

**Why it matters:** When classical artistes explore fresh themes—like the many dimensions of water—they help keep tradition vibrant, invite broader audiences into the experience, and demonstrate how Indian cultural forms can speak to the present with clarity and grace.