Sakhya: The grace of shared Sadhana

- Bijoy Shivram
e-mail: bijoyshivram@gmail.com
Photo credit: Anahita

March 21, 2026

In recent times, the classical stage has increasingly witnessed mother-daughter presentations, sometimes even performances spanning three generations. Yet Bharatanatyam is not an art that matures within a brief span of months or a few years; it demands sustained sadhana, unwavering discipline and years of immersion in the grammar and spirit of the form. What made 'Sakhya' particularly remarkable was the artistic depth and maturity that marked the performance of Dr. Swati Datar and her daughter Swarada Datar Bhave, a rare mother-daughter duet where tradition, scholarship and lived experience converged with grace and authenticity.

An acclaimed Bharatanatyam exponent from Pune, Dr. Swati Datar is widely respected as a performer, teacher and the founder-director of Swarada Nritya Sanstha. Her artistic journey, spanning over four decades, reflects a lifelong commitment to nurturing the classical arts. Through her teaching, she has trained several generations of dancers, guiding them not merely as performers but as thoughtful artistes rooted in the aesthetics and philosophy of the classical tradition.

Alongside her stood Swarada Datar Bhave, both disciple and daughter, whose artistic journey has been shaped by over two decades of rigorous training under her mother. Swarada has further refined her artistry under the guidance of Guru Vaibhav Arekar and continues to work closely with him as a member of the Sankhya Dance Company, deepening her exploration of Bharatanatyam's expressive and choreographic possibilities.

Their evocative presentation titled 'Sakhya' formed the highlight of the afternoon at Aikyam Kalautsava 2026, organized by the SDD Rhythmic Confluence team in the culturally vibrant city of Ahmedabad. The title itself suggested companionship and mutual understanding, and the performance beautifully reflected this idea - not merely between two dancers sharing a stage, but between a guru and shishya who are also bound by the intimate relationship of mother and daughter. The recital unfolded through an imaginatively structured Bharatanatyam margam, enriched by recorded music that lent vitality and immediacy to the performance.

The evening opened with Natesha Kautuvam by Swarada, an invocation in praise of Lord Nataraja. Composed in Ragamalika and Talamalika, the piece revealed a thoughtful balance between tradition and fresh choreographic imagination. Sculptural stances, intricate rhythmic passages and moments of stillness gradually unfolded into brisk and energetic nritta. The choreography offered a refreshing perspective on the traditional form, where rhythmic intricacy and aesthetic clarity were held in fine equilibrium. The synergy between the dancer and the music - composed by Satish Krishnamurthy along with a skilled ensemble of musicians - created a compelling and auspicious beginning.

Sakhya

At the heart of the recital was the Daru Varnam in raag Khamas, a composition of H.N. Muthiah Bhagavatar. Conceptually layered, the piece explored the philosophical idea that the divine is not merely worshipped externally but also resides within us as cosmic energy. Dr. Swati Datar portrayed Devi, the primordial Shakti, while Swarada embodied Prakriti, the manifest energy of nature and the universe. The choreography unfolded like an evolving dialogue between these forces. Their duet demonstrated an assured command of both nritta and abhinaya, gradually building intensity through rhythmic passages that suggested the dramatic encounter between the Asura and Chamundeshwari. The concluding sargam, gently dissolving into the resonant hum of the tanpura and flute, left the atmosphere contemplative and immersive.

The recital then moved into a devotional space with a Ram Bhajan of Sant Tulsidas, rendered in ragas Yaman, Bhoopali and Sindhu Bhairavi. Rather than merely invoking the divine form, the poetry reflected an inward search - an aspiration to imbibe the virtues of Rama and approach life with a sense of detachment and balance. The dancers conveyed this introspective mood with restraint and thoughtful abhinaya, allowing the philosophical essence of the poetry to unfold with quiet dignity.

In delightful contrast followed the expressive padam "Yarukkagilum Bhayama?" in raga Begada, presented by Swarada Bhave. The composition portrays a spirited young woman who remains unaffected by the whispers and gossip of society, confidently asserting her love and rightful place beside her beloved. Through nuanced characterization and expressive detailing, Swarada brought out the humour, confidence and emotional complexity embedded in the narrative, revealing both technical finesse and dramatic sensitivity.

Sakhya

The presentation Prahelika offered a delightful interlude, infused with light humour and intellectual playfulness. Framed as a friendly exchange between two companions teasingly challenging each other - "Who is more intelligent, you or I?" - the piece unfolded as an engaging game of riddles. Set in Ragamalika and Talamalika, moving through the ragas Kalyani, Brindavani, Mohanam and Durga, the composition created a lively and rhythmic dialogue between the dancers.

Through riddles sung in Marathi and Gujarati, the performers brought to life evocative images - a kite soaring in the sky, the resonant mridangam, the buzzing of bees, waist coat - interpreting them through expressive movement and nuanced abhinaya. Conceived from the imaginative idea of their late friend Sandhya Dharma, the piece carried within it, both joyous energy and a quiet note of remembrance. As the riddles unfolded, the audience found themselves instinctively drawn into the game, delighting in the playful guessing of answers while enjoying the spirited conversation that blossomed on stage through dance.

The recital concluded with an evocative Thumri in raga Gaud Malhar, "Jamuna kinare mero gaon, Sanware aai jaiyo." Here the emotional landscape was delicately layered. Dr. Swati Datar portrayed Devaki, calling out to Krishna with maternal tenderness steeped in vatsalya bhava, while Swarada embodied Radha, expressing a longing suffused with shringara rasa. The parallel abhinaya of these two distinct emotional worlds created a deeply moving and poetic conclusion to the performance.

The musical dimension of the evening too carried a special resonance. The scores for Natesha Kautvam, the Daru Varnam, the Padam and Prahelika brought together a sensitive ensemble of musicians whose artistry lent depth and vitality to the choreography. The evocative vocals of Sujesh Menon, supported by the rhythmic finesse of Satish Krishnamurthy on the mridangam, the lyrical flute of Sunil Awachat and the expressive violin of Ajay Chandramouli, created a rich musical tapestry that beautifully complemented the dancers' movements and expressions. In the Bhajan, the soulful voice of Karthik Hebbar added devotional warmth, while the Thumri was rendered with graceful nuance by Arpita Vaishampayan. Thoughtfully recorded and crafted, the music became an integral presence throughout the evening, enhancing the aesthetic experience and reflecting the invaluable contribution of these accomplished artistes.

Throughout Sakhya, what stood out most was the seamless dialogue between experience and youth, tradition and continuity. The shared stage of Dr. Swati Datar and Swarada Datar Bhave revealed not only technical brilliance but also the quiet strength that arises from years of disciplined training and artistic introspection. Their performance reaffirmed that Bharatanatyam, when nurtured through sincere riyaz and devotion, evolves into something far beyond a presentation - it becomes a living and breathing experience of art, lineage and shared artistic legacy.

Son of journalists K Shivram and Amni Shivram, the first Malayali woman English journalist, Bijoy Shivram is an accomplished Indian classical dancer trained in Bharatanatyam and Kuchipudi. A passionate promoter of the arts and a skilled graphic designer, he currently serves as the Vice Principal of JG College of Performing Arts and the Assistant Director (Operations) overseeing 17 JG colleges. He is also the founder of Preksha, an organization dedicated to the promotion of art and culture in Ahmedabad. Since 2020, Bijoy has curated the YouTube series 'Gurudakshina - An Ode to our Gurus,' celebrating the legacy of mentorship and tradition.