Narayan Sharma’s Saṁhṛti Explores Life, Death and the Soul’s Eternal Journey Through Dance

Contemporary dancer and choreographer Narayan Sharma recently presented his powerful solo production Saṁhṛti in the capital. A deeply philosophical work, the 40-minute performance explores the mysteries of life, death, memory, and the soul’s eternal journey through movement, music, puppetry, and theatrical design. In this conversation, Sharma reflects on the inspiration behind the work, the creative process, and the questions that continue to guide his artistic exploration.

What inspired the creation of Saṁhṛti?

The inspiration came from a very simple question that has fascinated humanity for centuries: What happens to the soul after death? We spend our lives forming connections—with people, places, emotions, and memories. These experiences become part of our identity. I began wondering whether the soul, after spending an entire lifetime within a body, forms a similar attachment. When the body dies, does the soul feel a sense of separation? Does it miss the memories, the emotions, or the life it once experienced?

Of course, none of us can know the answer with certainty. But that mystery itself became the foundation of Saṁhṛti. Rather than offering conclusions, the work invites reflection and contemplation.

The title Saṁhṛti carries profound meaning. What does it represent for you?

In many philosophical traditions, Saṁhṛti refers to dissolution or withdrawal, but I wanted to approach it from a broader perspective. For me, it is not merely destruction or an ending. It is a return. It is a transition from one state of existence to another.

The universe itself operates through cycles of creation and dissolution. Stars are born and die. Seasons change. Life emerges and eventually returns to its source. Through this performance, I wanted to explore how human existence mirrors these cosmic rhythms. Death is often perceived as a final destination, but perhaps it is simply another stage in a larger journey.

How did you translate such an abstract philosophical idea into movement?

Contemporary dance allows me to communicate ideas that words often cannot fully express. The body becomes a medium through which emotions, memories, and unseen energies can be experienced.

In Saṁhṛti, movement evolves through different emotional and spiritual states. There are moments of attachment, resistance, surrender, and acceptance. The choreography seeks to embody the soul’s relationship with the body and the gradual process of letting go.

I wasn’t interested in creating a literal narrative. Instead, I wanted the audience to experience sensations and emotions that resonate with their own understanding of life and loss.

The production combines multiple artistic disciplines. How important was collaboration in bringing the work to life?
Collaboration was absolutely essential. While the concept and choreography originated with me, Saṁhṛti became what it is because of the incredible artists who contributed their expertise.

The puppetry by Salim Zaidi added a powerful symbolic dimension to the narrative, allowing us to explore themes of life, control, and transcendence in unique ways. Saahas Verma’s music arrangements created an emotional landscape that supported the journey of the performance. The voiceover and lighting design by Mr. A.V.L. Raghavendra helped shape the atmosphere and guide the audience through different states of consciousness.

The visual world of the production was enhanced by Shubham Kumar Vats’ set design, while Aamrapali Bhandari’s work as rehearsal director and costume designer ensured that every visual element remained connected to the central philosophy of the piece.

What role does uncertainty play in this work?

A very important one. Modern society often seeks clear answers, but some of the most meaningful questions in life remain unanswered. Saṁhṛti embraces that uncertainty.

I am not trying to explain what happens after death. Instead, I am inviting audiences to sit with the question. There is beauty in not knowing. There is space for imagination, faith, philosophy, and personal interpretation.

Every audience member brings their own experiences, beliefs, and memories into the theatre. The performance becomes a mirror through which they can reflect on their own relationship with mortality and existence.

How was the experience of presenting Saṁhṛti at India Habitat Centre?

It was deeply rewarding. The Stein Auditorium has a unique energy, and presenting such an intimate and contemplative work in that space felt very special.

What moved me most was the audience’s engagement. Many people approached me after the performance to share their interpretations and emotional responses. Some connected the work to personal experiences of grief and loss. Others viewed it through a spiritual or philosophical lens. Those conversations reminded me that art becomes truly meaningful when it creates space for dialogue and introspection.

What do you hope audiences take away from Saṁhṛti?

I hope they leave with questions rather than answers. If the performance encourages someone to think differently about life, death, memory, or the nature of existence, then it has achieved its purpose. I want people to reflect on the attachments they carry and the impermanence that shapes every aspect of our lives.

Most importantly, I hope they recognize that endings and beginnings may not be separate events. They may simply be different expressions of the same eternal cycle. Perhaps what we call an ending is not an ending at all. Perhaps it is a quiet continuation of something far greater than ourselves.

Sandip Soparrkar holds a doctorate in world mythology folklore from Pacific University USA, an honorary doctorate in performing arts from the National American University, He is a World Book Record holder, a well-known Ballroom dancer and a Bollywood choreographer who has been honored with three National Excellence awards, one National Achievement Award and Dada Saheb Phalke award by the Government of India. He can be contacted on sandipsoparrkar06@gmail.com