Vaibhav arekar and sometimes expanding fronts of their dance

Vaibhav arek tax | Photo Credit: M. Shrinath

In the Varari Puja tradition of Maharashtra, it is customary to open with a description or Varnan As Vitala. In his singles production called ‘Naam Manhane’, Vaibhav Amerkar follows the conference, which is a piece of inauguration in Bharatanatyam Margam, which is leveled by an abnormal ‘Sundar Te Paddy’. The Mumbai-based dancer-choreographer recently performed this at the Anubhuti Dance Festival in Chennai, which was organized and cured by dancer Divya Nair.

Known for creating an art that is thoughtful and deep, Vaibhav takes inspiration from various sources – Van Gag and his paintings, contemporary dance legends such as Martha Graham and Pina Bahuh, Bhantanam Stallwarts CV Chandrashekhar and Dhananjayans. As an artist and choreographer, he takes on various subjects, and a defined characteristic of his work is being in the mind of the character he portrays. Whether it is ‘Venugan’, Which examines Krishna’s struggles with dilemmas of life, or ‘Shrimant Yogi’, which describes the victory and coronation of Chhatrapati Shivaji, Vaibhav brightens the stage with his imagination and creativity. It often frees the form of art from its obstacles, leading to unexpected and beautiful discoveries.

Vaibhav with Nakhya Dance Company dancers. Photo Credit: Special Arrangement

Vaibhav admitted that he never chose Bharatanatyam. “The form of art chose me. I don’t come from an artistic background, but I always wanted to dance.” After receiving his guru from Nalanda Nritya Kala Mahavidyaaya established by his guru Kanak Riley, Vaibhav acted as a faculty of a decade before turning a full -time artist. “Active teaching takes the energy away from performance. I wish to find out the possibility of performing and Riaz A major part of my life. “It was when he decided to mentoring. I mention about 15 full -time dancers and we find out the movement, experiences and new ways to see the world.”

From one of the works of the group of Vaibhav. Photo Credit: Special Arrangement

When it comes to the idea process, Vaibhav says that Malavika Sarukai’s inheritance was a major impact. He also looks at Leela Samson’s Spanda for group work. “By selecting full -time dancers for Sankhya, I focused on choreography. These dancers are continuously practicing, and can immediately move an idea on the body.”

He also states that financial livelihood is difficult for dance companies because no grants and monetary support is available. “This is why the internship works – can leave the dancers and get a job outside the company when they want.”

Vaibhav’s attitude for dance was shaped with his training and collaboration with Marathi playwright Chetan Datar. The dramatic elements are involved in their presentations. Sometimes, he seems engrossed in traditional relations between the dance, theater and music described in Natashastra, and in other times, like modern dancers, allows the audience to explain the connection. For example, in ‘Naam Mane’, he goes into text nuances to explain how St. Namdev gives humanity to Vitala, when he does not consume, he gets excluded. Navel Offered. The performance of splendor seemed to destroy spirituality, making it a more personal expression. In a piece of Chokhamela, the saint who faced humiliation due to his caste, Vaibhav showed Namdev’s inclusive philosophy, who Vitala outside Vitala and while he was building the wall, complains to the Vitala and burial outside the Vitala. Vaibhav depicted such poignant moments with rare sensitivity. Despite the dramaticness, the raw spirit was clear.

Vaibhav presented ‘Naam Manhane’ at Bharatiya Vidya Bhavan in Chennai: M. Shrinath

Music not only plays an important role in Vaibhav’s presentations, showing that he is a fierce colleague. In ‘Naam Manhane’, singer Sudha Raghuraman and composer Satish Krishnamurthy and Calswaran are a part of the scene and emotional landscape. Vaibhav understands that without creating a suitable environment, it cannot be impressive in telling the story. This is where Sushant Jadhav steps – his contribution in the context of artistic direction and light gives a different touch for many works of splendor.

“I realized that every new drama has a new structure, a new way of execution. I was used to recur in Bharatanatyam, and was surprised how to change it,” Vaibhav says. Although he finds a lot of relevance in the structure of a path, Their choreographers are structured on the basis of what is the demand for subjects. “It was important to include an Alaripu and Thilana in ‘Nama Manhane’. But it does not happen all the time. I allow my works to take my own natural course. Since we are working with an art form that is constantly developing, there is no pressure to determine borders.”

As a single artist, Vaibhav appears as a thinking artist. But what does it take to fall a dress according to his thought process and technique? “Every member is part of the creative process from the beginning to the stage. I tell them not to see me, but to find themselves beyond the story and spirit,” Vaibhav says.