"The energy of an all-female cast is palpable."
Bharatanatyam has long been a powerful medium for storytelling, embodying tradition, devotion, and artistry.
But for renowned dancer and choreographer Mythili Prakash, it is also a lens through which to interrogate societal norms.
In She’s Auspicious, set to be performed at the new Sadler’s Wells East at the end of February, Mythili explores the complex relationship between goddess worship and the treatment of women, questioning the paradoxes within both spirituality and reality.
With a career shaped by deep classical roots and contemporary provocations, Prakash brings a deeply personal perspective to the stage.
In this exclusive interview with DESIblitz, she discusses the inspirations behind She’s Auspicious, the influence of motherhood, and how her artistic journey continues to evolve.
What inspired you to explore the relationship between goddess worship and the treatment of women in She’s Auspicious?
The Goddess in her various forms has been a huge influence in my life since childhood.
My grandmother was a Devi Bhakta (Goddess devotee), and her belief in the Goddess was integrated into every memory of childhood (from praying to her for our school tests to praying for the Lakers to win championships and Obama to win the presidency).
My mom also has always been inspired by feminine energy, she named her dance school Shakti (which is a name for the feminine divine), and so many of her dance choreographies and productions have been female character-led.
So, the Goddess has been a powerful force in my personal life and dance life. And somehow through childhood and teenage years – the two felt separate.
But into adulthood, I realised that dance has always been my lens to process and navigate the world in a way that is as personal as it is artistic.
And the dichotomy and irony between the empowerment of the Goddess that I’ve always felt and danced about, and the reality of objectification, stigma, and violence against women in society the world over has become increasingly blaring.
How does Bharatanatyam help you critique societal norms around femininity and purity?
Bharatanatyam is my language.
It has been ever since I can remember (my mom is a dancer and was performing while pregnant with me and as soon as she could after!).
And because it is a form that, from its earliest tracings, has been predominantly practised and performed by women, Bharatanatyam has specific associations with femininity in its adornment, aesthetics, performance, and the culture that surrounds it.
And even though, those aesthetics continue to change with time, the ideas of restraint and refinement that characterise ideals of femininity in society are also a strong (maybe unspoken) value in the dance form.
So, in examining societal norms around femininity and purity, I can’t help but look at the form itself and let it be the medium for that exploration.
How did your experiences as a woman and mother shape this production?
Motherhood is life-altering. And I think as a dancer, we perform motherhood before we become mothers, and it is very singular in its approach – adoring, affectionate, “pure” in its love.
But motherhood is messy and complex and has a whole internal struggle that goes beyond the child.
And I’ve never seen that explored in dance. Somehow over time, this has piece morphed into a catharsis of all the things we may feel and never express.
The #MeToo movement was also a huge catalyst in facing our roles and culpability as individuals and a society, and how the blinders that go hand in hand with this culture of projecting “purity” only enable the cycles of abuse.
How did the all-female cast’s shared experiences enhance the storytelling?
I’ve realised through the making and sharing of this piece that there is so much shared experience amongst women, in both a beautiful and unfortunate way.
And the energy of an all-female cast is palpable.
So many different people have formed the fabric of this work through different stages of time, as performers, ideators, creatives, rehearsal directors, etc.
After touring the USA and Singapore, what reactions do you anticipate from UK audiences?
To be honest, I try not to think of that.
Audiences and reactions are different and vary from individual to individual.
The thing that I have appreciated is the level of involvement and reflection that people have had in their responses to the piece.
That’s all one can hope for. But even in that, my focus is on continuing to grow the work, and trusting that it will be received how it is meant to be.
How has Akram Khan’s mentorship influenced your creative approach?
So many of his provocations have shaped the questions that have become my own.
As someone who is both from classical dance training and outside of it, he has a unique perspective.
When I began to show him my work, his observations would cut through the paraphernalia of classical dance that we almost became unaware of.
Through working with him in his work, my approach to my own process has shifted from one that was more linear and script/choreography-based, to one that feels more instinctive and shaped by play and improvisation before it crystallises into choreography.
How does your dual identity as an Indian-American artist shape your work?
Having grown up in America but in a home that was strongly entrenched in Indian art and culture, my approach to story-telling and form has always been a combination of the two; it’s impossible to distinguish where one ends and the other begins.
The belief in the intangible world of magic is as strong as the incisive provocation of the messy world we live in.
And more and more I’m unable to separate the two. I feel this in my work.
How do the musical elements complement the narrative, and is there room for improvisation?
The musical elements are as integral to the narrative as the dance.
Created with my close collaborators Aditya Prakash (my brother) and Sushma Soma, the questions asked of form run as threads through all aspects of the work: movement, story-telling, music composition, sound design, set design etc.
The musicians move between the fixed and improvised.
Where do you see Bharatanatyam evolving, and what role do you play in that?
I find it hard to articulate how Bharatanatyam is evolving, but I do observe that more and more dancers are searching for their own personal voice within their dance explorations in a more deliberate way.
I don’t know if I have played a role in that, but that’s definitely a direction I’ve been pursuing over the last two decades of making work.
Through She’s Auspicious, Mythili Prakash crafts a visceral dialogue between the sacred and the lived, using Bharatanatyam as both a tribute and a challenge to tradition.
As the production makes its way to UK audiences, it stands as a testament to dance’s ability to question, provoke, and transform.
With a commitment to pushing boundaries while honouring the essence of Bharatanatyam, Prakash’s journey is one of continuous exploration.
And as she moves forward, her work invites us all to reconsider the stories we tell—and the truths they reveal.
Catch She’s Auspicious at Sadler’s Wells East in Stratford, London from Friday 28 February to Sunday 2 March 2025. Tickets start from £15.
Click here to find out more and to book your tickets!
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