Vaibhav Arekar and the Ever-Expanding Frontiers of His Dance

In the Varkari Worship Tradition of Maharashtra, it is customry to open with a description or varnan of Vittala’s Form. In his solo production titled ‘Nama Mhane’, Vaibhav Arekar Adheres to this convention by commenting with an alarippu, the opening pa alaarippu, the opening paper in the bharatanatyam margam, the subtext of which is laayred by ‘Sundar Te Dhyaan’. The Mumbai-based Dancer-Choreographer recent presented this at Anubhuti Dance Festival in Chennai, Organized and Curated by Dancer Divya Nayar.

Known for creating art that is thoughtful and deep, vaibhav draws inspiration from Various Sources – Van Gogh and His Paintings, Contemporary Dance Legends Such as Martha Graham and Paina Bihar Bharatanayam Stalwarts cv chandrasekhar and the dhananjayans. As a performer and choreography, he takes on a variety of themes, and one defining characteristic of his work is getting into the mind of the character he portrays. Whather it is ‘venugaan’, Whoch Exploes Krishna’s Struggles with Life’s Dilemmas, or ‘Shrimant Yogi’ that details chhatrapati shivaji’s conquests and coronation, vaibhav lights up the staghhts up the stage with history. It often liberates the art form from its own constraints, leading to unexpected and beautiful discoveries.

Vaibhav with Dancers of Sankhya Dance Company | Photo Credit: Special Arrangement

Vaibhav Confesses He Never Chose Bharatanatyam. “The art form chose me. I do not come from an artistic background, but I always wanted to dance.” After obtaining his master’s from nalanda nalanda nraithya kala mahavidyalaya estables by his men menk release, vaibhav worked as a faculty there for close to a decade before Turning a full-time perfeor. “Active Teaching Takes Away Energy from Performance. I wished to explore the passibility of making performance and riyaaz A Major Part of My Living. ” This was when he decides to take up mentoring. 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 comes to thought process, vaibhav says Malavika Sarukkai’s Themetic Work was a Major Influence. He also looks up to leela samson’s spanda for group work. “By selecting full-time dancers for sankhya, I focussed on choreography. This dancers are constantly practicing, and can immediatily transfer an idea onto the body.”

He also points out that Financial Sustenance is Hard for Dance Companies as No Grants and Monetary Support are available. “This is why internapp works – the dancers can leave and find jobs outside the company when they wish to.”

Vaibhav’s approach to dance was shaped by his training and collaboration with Marathi Playwright Chetan Datar. Theatrical elements are interwoven into his productions. Sometimes, he seems to delve into the traditional Relationship Among Dance, Theatre and Music as Described in the Natyashastra, and, At Other Times, like Modern Dancers, Allows the Audence the Audence to interpret the connection. For instance, in ‘nama mhane’, he goes into textual nuans to portray how Saint Namdev Humanies Vittala, Getting exasperated when he does not consume the naiivedya Offred. Vaibhav’s performance seemed to demystify spirituality, make it a more personal expression. In the piece on Chokhamela, the Saint Who Facted Humiliation Secause of His Caste, Vaibhav Showed The Inclusive Philosophy of Namdev, Who Complains to Vittala and Buries Chokhamela Wall he was constructing collapses) Outside the vittala temple at pandharpur where he was not allowed entry. Vaibhav Depicted Such Poignant Moments with Rare Sensitivity. Despite thetricality, the raw emotion was palpable.

Vaibhav presented ‘Nama Mhane’ at Bharatiya Vidya Bhavan in Chennai | Photo Credit: M. Srinath

Music not just plays an important role in vaibhav’s presentations, it shows what a fierce collaborator he is. In ‘Nama Mhane’, Singer Sudha Raghuraman and Musicians Satish Krishnamurthy and Kailshwaran k are a part of the Visual and Emotional Landscape of the production. Vaibhav undersrstands storytelling cannoted cannot be impactful without creating a suitable atmosphere. This is where Sushant Jadhav Steps in – His Contribution in Terms of Artistic Direction and Lighting Lends A Distinct Touch to Many of Vaibhav’s Works.

“I realized in theater every new play have a new structure, a new way of execution. I was used to repetition in bharatanatyam, and wondered how to change how to change this,” Says vaibavav. Although he finds much relevance in the structure of a margam, His choreography works are structured based on what the themes demand. “Incorporating an alarippu and thillana in ‘nama mhane’ was important. Constantly evolving, there are no pressures to set boundaries. ”

As a soloist, vaibhav comes across as a thought artiste. But what does it take to make an encemble fall in line with his thought process and technique? “Every member is part of the creative process from start to the stage. I tell them to not look at me but look beyond the narrow and emotion to discover themselves,” Says vaibhav.