Pancha Prakriti: A Bharatanatyam dance drama

Inspired by the eternal significance of the Pancha Bhootas—the five elements of nature—the production beautifully explored the divine connection between nature, spirituality, and the human experience through the language of dance. With a powerful combination of classical dance, evocative storytelling, and soulful music, “Pancha Prakriti” celebrated the timeless harmony between Prakriti (nature) and the divine.

The music was by Hemanth Kumar, with some of the lyrics by Padma Hemanth. More than 40 young artistes, led by Rashmi herself, came together for this production, creating a visually and artistically appealing spectacle that paid homage to the five elemental forces that sustain all life. The eternal rhythm of creation, pervaded by divinity and nature, was the central theme.

As the show opened with a Swaranjali to set the tone, lights maestro Basavaraju created a cascade of coloured beams that made the artistes shine on stage. The family of Shiva was depicted in a harmonious mood. Ganesha was extolled in Ganesh Vandana. The other dancers created a scintillating effect as they resembled a radiant backdrop in gold and black aharya.

The Earth element was shown through “Vaaranam Aayiram” from Nacchiyar Thirumozhi by Andal, the mystic Vaishnavite saint-poetess. Sheetal played the role of Andal, elegantly dressed in green aharya and a conical headdress, with sparkling ornate diamond jewellery. She explains her dream of her hand being sought in marriage by the Devas for Lord Krishna.

The wedding itself was intricately pictured, with the venue enhanced by the chanting of sacred hymns. Floral garlands were exchanged delicately by the bride and groom after the Lord arrived in a grand procession, with a royal parasol borne above him, accompanied by Garuda, his vehicle. The Sankhu and Chakra (conch and discus) emblems were carried by the dancers.

An item on the River Ganga, “Gange Surgange”, signified the element of Water. Neha was in this role. As the group ensemble waved cloths to depict the cascading waters of the divinely holy river, Neha’s fluid nritta was resplendent. The hand gestures denoting wave movements and the blue costumes added verisimilitude.

Sheetal also donned the part of Saraswati. She was clad in pure white robes with a red brocade sash, befitting the aura of the Goddess of Knowledge. “Saraswati Kauthvam”, describing the glory of her benign presence, was greatly appreciated.

Fire was the element assigned to Chamundeshwari. Akanksha, in an ochre-gold dress, essayed the composition “Sri Chamundeshwari Palayamam”. She emanated a dignified, resolute stance as she destroyed the demons who disturbed the worship of sages and preyed on helpless victims. Her golden trident was handled impressively as she used it to great effect in dispatching her enemies.

“Kali Ashtakam” was a piece containing brisk and vigorous natya elements. Rashmi herself, as Kaali, embodied the element of Space. Dressed in black, with a protruding tongue and a garland of skulls, and wielding a sickle-shaped sword, her fierce appearance discomfited the rampaging asuras who attempted to attack her. Slaying them with ease, her rage was terrifying, expressed through intensely focused abhinaya.

At the conclusion, all the presiding divine forms of the five elements were present together on stage in tableaux, like a row of sculptures in a temple, to give their benedictions to the audience’s applause.

ABOUT THE AUTHOR

Anna Rao Gangavalli

Anna Rao Gangavalli[email protected]