In the Varkari worship custom of Maharashtra, it’s customary to open with an outline or varnan of Vittala’s kind. In his solo manufacturing titled ‘Nama Mhane’, Vaibhav Arekar adheres to this conference by commencing with an alarippu, the opening piece in the Bharatanatyam margam, the subtext of which is layered by an abhang ‘Sundar te dhyaan’. The Mumbai-based dancer-choreographer not too long ago offered this at Anubhuti Dance Festival in Chennai, organised and curated by dancer Divya Nayar.
Known for creating artwork that’s considerate and deep, Vaibhav attracts inspiration from numerous sources — Van Gogh and his work, up to date dance legends similar to Martha Graham and Pina Bausch, Bharatanayam stalwarts C.V. Chandrasekhar and the Dhananjayans. As a performer and choreographer, he takes on a range of themes, and one defining attribute of his work is entering into the thoughts of the character he portrays. Whether it’s ‘Venugaan’, which explores Krishna’s struggles with life’s dilemmas, or ‘Shrimant Yogi’ that particulars Chhatrapati Shivaji’s conquests and coronation, Vaibhav lights up the stage with his creativeness and creativity. It usually liberates the artwork kind from its personal constraints, resulting in surprising and lovely discoveries.
Vaibhav with dancers of Sankhya Dance Company
| Photo Credit:
Special Arrangement
Vaibhav confesses he by no means selected Bharatanatyam. “The art form chose me. I do not come from an artistic background, but I always wanted to dance.” After acquiring his Master’s from Nalanda Nrithya Kala Mahavidyalaya established by his mentor Kanak Rele, Vaibhav labored as a college there for near a decade earlier than turning a full-time performer. “Active teaching takes away energy from performance. I wished to explore the possibility of making performances and riyaaz a major part of my living.” This was when he determined to take up mentoring. “Dancers who have graduated from institutions with a degree in Bharatanatyam needed internships to plug the gap between theory and practical application and my dance company Sankhya offered that space. I mentor around 15 full-time dancers and we explore movement, experiences and new ways of looking at the world.”
From one of Vaibhav’s group works
| Photo Credit:
Special Arrangement
When it involves thought course of, Vaibhav says Malavika Sarukkai’s thematic work was a serious affect. He additionally appears to be like as much as Leela Samson’s Spanda for group work. “By selecting full-time dancers for Sankhya, I focussed on choreography. These dancers are constantly practicing, and can immediately transfer an idea onto the body.”
He additionally factors out that monetary sustenance is difficult for dance firms as no grants and financial help can be found. “This is why internship works — the dancers can leave and find jobs outside the company when they wish to.”
Vaibhav’s strategy to dance was formed by his coaching and collaboration with Marathi playwright Chetan Datar. Theatrical components are interwoven into his productions. Sometimes, he appears to delve into the conventional relationship amongst dance, theatre and music as described in the Natyashastra, and, at different instances, like fashionable dancers, permits the viewers to interpret the connection. For occasion, in ‘Nama Mhane’, he goes into textual nuances to painting how saint Namdev humanises Vittala, getting exasperated when he doesn’t eat the naivedya supplied. Vaibhav’s efficiency appeared to demystify spirituality, making it a extra private expression. In the piece on Chokhamela, the saint who confronted humiliation as a result of of his caste, Vaibhav confirmed the inclusive philosophy of Namdev, who complains to Vittala and buries Chokhamela (who dies when the wall he was establishing collapses) outdoors the Vittala temple at Pandharpur the place he was not allowed entry. Vaibhav depicted such poignant moments with uncommon sensitivity. Despite the theatricality, the uncooked emotion was palpable.
Vaibhav offered ‘Nama Mhane’ at Bharatiya Vidya Bhavan in Chennai
| Photo Credit:
M. Srinath
Music not simply performs an essential function in Vaibhav’s displays, it reveals what a fierce collaborator he’s. In ‘Nama Mhane’, singer Sudha Raghuraman and musicians Satish Krishnamurthy and Kailshwaran Ok are a component of the visible and emotional panorama of the manufacturing. Vaibhav understands storytelling can’t be impactful with out creating an appropriate ambiance. This is the place Sushant Jadhav steps in — his contribution in phrases of inventive course and lighting lends a definite contact to many of Vaibhav’s works.
“I realised in theatre every new play has a new structure, a new way of execution. I was used to repetition in Bharatanatyam, and wondered how to change this,” says Vaibhav. Although he finds a lot relevance in the construction of a margam, his choreographic works are structured primarily based on what the themes demand. “Incorporating an alarippu and thillana in ‘Nama Mhane’ was important. But it doesn’t happen all the time. I allow my works to take their own natural course. Since we are dealing with an art form that is constantly evolving, there are no pressures to set boundaries.”
As a soloist, Vaibhav comes throughout as a pondering artiste. But what does it take to make an ensemble fall in keeping with his thought course of and method? “Every member is part of the creative process from start to the stage. I tell them to not look at me but to look beyond the narrative and emotion to discover themselves,” says Vaibhav.
Published – April 29, 2025 06:40 pm IST
