Vaibhav Arekar and the ever-expanding frontiers of his dance

Vaibhav Arekar
| Picture Credit score: M. Srinath

Within 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 within the Bharatanatyam margam, the subtext of which is layered by an abhang ‘Sundar te dhyaan’. The Mumbai-based dancer-choreographer not too long ago introduced this at Anubhuti Dance Competition in Chennai, organised and curated by dancer Divya Nayar. 

Identified for creating artwork that’s considerate and deep, Vaibhav attracts inspiration from varied sources — Van Gogh and his work, modern dance legends equivalent to Martha Graham and Pina Bausch, Bharatanayam stalwarts C.V. Chandrasekhar and the Dhananjayans. As a performer and choreographer, he takes on a wide range of themes, and one defining attribute of his work is moving into the thoughts of the character he portrays. Whether or not 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 along with his creativeness and creativity. It typically liberates the artwork kind from its personal constraints, resulting in sudden and exquisite discoveries.    

Vaibhav with dancers of Sankhya Dance Firm
| Picture Credit score:
Particular Association

Vaibhav confesses he by no means selected Bharatanatyam. “The artwork kind selected me. I don’t come from a creative background, however I at all times needed to bop.” After acquiring his Grasp’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. “Lively instructing takes away power from efficiency. I needed to discover the potential of making performances and riyaaz a serious a part of my dwelling.” This was when he determined to take up mentoring. “Dancers who’ve graduated from establishments with a level in Bharatanatyam wanted internships to plug the hole between principle and sensible software and my dance firm Sankhya provided that area. I mentor round 15 full-time dancers and we discover motion, experiences and new methods of wanting on the world.”  

From one among Vaibhav’s group works
| Picture Credit score:
Particular Association

Relating to thought course of, Vaibhav says Malavika Sarukkai’s thematic work was a serious affect. He additionally seems to be as much as Leela Samson’s Spanda for group work. “By deciding on full-time dancers for Sankhya, I focussed on choreography. These dancers are continuously working towards, and may instantly switch an thought onto the physique.” 

He additionally factors out that monetary sustenance is tough for dance firms as no grants and financial assist can be found. “Because of this internship works — the dancers can depart and discover jobs outdoors the corporate once they want to.”  

Vaibhav’s method to bop was formed by his coaching and collaboration with Marathi playwright Chetan Datar. Theatrical components are interwoven into his productions. Typically, he appears to delve into the standard relationship amongst dance, theatre and music as described within the Natyashastra, and, at different instances, like fashionable dancers, permits the viewers to interpret the connection. As an example, in ‘Nama Mhane’, he goes into textual nuances to painting how saint Namdev humanises Vittala, getting exasperated when he doesn’t eat the naivedya provided. Vaibhav’s efficiency appeared to demystify spirituality, making it a extra private expression. Within the piece on Chokhamela, the saint who confronted humiliation due to his caste, Vaibhav confirmed the inclusive philosophy of Namdev, who complains to Vittala and buries Chokhamela (who dies when the wall he was setting up collapses) outdoors the Vittala temple at Pandharpur the place he was not allowed entry. Vaibhav depicted such poignant moments with uncommon sensitivity. Regardless of the theatricality, the uncooked emotion was palpable. 

Vaibhav introduced ‘Nama Mhane’ at Bharatiya Vidya Bhavan in Chennai
| Picture Credit score:
M. Srinath

Music not simply performs an necessary function in Vaibhav’s shows, it exhibits what a fierce collaborator he’s. In ‘Nama Mhane’, singer Sudha Raghuraman and musicians Satish Krishnamurthy and Kailshwaran Ok are part of the visible and emotional panorama of the manufacturing. Vaibhav understands storytelling can’t be impactful with out creating an acceptable  environment. That is the place Sushant Jadhav steps in — his contribution by way of creative path and lighting lends a definite contact to a lot of Vaibhav’s works. 

“I realised in theatre each new play has a brand new construction, a brand new method of execution. I used to be used to repetition in Bharatanatyam, and questioned the best way to change this,” says Vaibhav. Though he finds a lot relevance within 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 necessary. However it doesn’t occur on a regular basis. I permit my works to take their very own pure course. Since we’re coping with an artwork kind that’s continuously evolving, there are not any pressures to set boundaries.” 

As a soloist, Vaibhav comes throughout as a considering artiste. However what does it take to make an ensemble fall in keeping with his thought course of and method? “Each member is a part of the inventive course of from begin to the stage. I inform them to not have a look at me however to look past the narrative and emotion to find themselves,” says Vaibhav.