KOCHI: Bharatanatyam exponent Vaibhav Arekar is someone who is known for the explosive passion and energy he brings on stage. For those with an inclination toward classical dance, it’s hard to not go into a trance while watching him perform.
Quite beautifully, Vaibhav sums up the essence of his exploration: “I dance to experience that romance of movement... to reach the pinnacle of intoxication where realisation fails me if I am dancing or dance is moving me.”
TNIE catches up with the Mumbai-based artist, who was recently in Kochi as part of the Kalandhika National Dance Festival. Excerpts
Could you please share the beginning of your fascinating journey in the world of classical dance?
I don’t know how I started to learn dancing, or why I was drawn to Bharatanatyam, which I have been learning, and exploring, for 40 years now. I believe there was a natural, inherent inclination. I don’t come from a family of artists, and have often wondered why I embraced dance. My earliest childhood memory is a strong urge to dance, especially in the classical form.
I initially learnt from doyens Saroja Srinath and Siri Rama, who provided the basic grounding and fuelled my interest in the art form. They directed me to join Nalanda Nritya Kala Mahavidyalaya, a classical dance college in Mumbai, where I met my mentor Kanak Rele. At Nalanda, I earned my bachelor’s and master’s degrees under various gurus – fantastic teachers who shaped my perspective on the form.
I learned history, aesthetics, nattuvangam, music, and various aspects that enriched my journey. I also explored theatre under Chetan Datar. That, too, influenced my view of Bharatanatyam as a performance and art form. Later, I decided to walk my own path and eventually formed the Sankhya Dance Company.
At this stage of your career, where do you draw inspiration from?
Explaining the inspiration for a performer in their art is challenging. I could have chosen Bollywood or other dance forms like kathak or Odissi, but I was always drawn to Bharatanatyam. It manifested naturally. As I progressed, I met many artists who inspired me further. They offered new perspectives and deepened my connection with the art form. Also, self-inspiration – from deep within – drives me.
What is your assessment on the way classical dance has been evolving? What are your thoughts on contemporary changes being introduced in the art form?
Dance evolves along with the human thought process. The way we think and perceive the world keeps changing and this will/should be reflected in art. Personal growth and societal evolution go hand in hand. To keep classical dance relevant, artists need to be conscious of how they contribute to its evolution. Some explore new themes within the traditional format, while others experiment with the form itself. These changes are essential to prevent stagnation.
Bharatanatyam, though traditional, is inherently contemporary. It reflects the times we live in. Staying relevant is crucial; I don’t consider myself a museum piece.
What are the changes that you have introduced to the art form, if any?
Any artist who endures and gains recognition brings about changes, although they may not always be visually apparent. For me, I have been fascinated by how the ‘angika abhinaya’ (physical expressions) of bharatanatyam can convey ideas or themes. While traditional elements like ‘mukhaja abhinaya’ (facial expressions) and ‘hasta abhinaya’ (hand expressions) are vital, I have explored the potential of ‘sarvanga abhinaya’ (expressions through the entire body), using it to convey deeper meaning. Additionally, I have examined how traditional themes can be expressed through group performances, emphasising shared energies and a unified message.
What are your goals, and aspirations as a classical dancer?
As we grow, our aims and goals change. One of my goals is to make Bharatanatyam more popular globally. My primary aim is to ensure that Bharatanatyam remains relevant in our ever-changing world.
Can you share memorable moments that impacted you as a dancer?
There are numerous moments and experiences that have shaped me as an artist. One significant memory is witnessing a Kathakali performance as a 12-year-old. Though I didn’t understand the language, it captivated me and changed the way I looked at dance as an art. My gurus, especially Saroja Srinath and Kanak Rele, have had a lasting impact. However, the most memorable experience was watching Kanak Rele perform. Her ‘abhinaya’ struck me deeply. I have also found inspiration in other art forms, and poetry.
Choosing dance as a professional career can be challenging, especially the financial aspect. What is your take on this?
Joy comes with challenges. It’s a path I have chosen. Movements like ‘Pay for Art’ are crucial, and I fully support them. In my performances in Mumbai and Pune festivals, ‘Pay for Art’ is a given. Artists deserve to be compensated well for their work. Art should not be undervalued, and artists must uphold integrity. When art is consistently valued and compensated, it can become a sustainable profession.
You have performed across India, and on int’l stages. What are the major differences between these two platforms?
It depends on the audience and context. Sometimes, international performances may have more Indian audiences – like non-resident Indians.
They might expect a particular style and require different explanations. Though both audiences appreciate the art form equally, international audiences often display more discipline.
In India, where the culture is deeply ingrained, audiences understand the nuances without elaborate explanations. Dancing in India is a unique experience, as there’s an inherent understanding of the art form among the audience. Dancing abroad can be exciting, as it involves introducing the art to new audiences, many of whom approach it with curiosity.