Indian Arts Have to Reach Our Future Generations in their Pure, Authentic Forms
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– A rendezvous with NIKITA BANWALIKAR
[/vc_column_text][vc_row_inner][vc_column_inner][vc_column_text]IN THIS FREEWHEELING INTERVIEW WITH INDIAN SOUNDS & STEPS, NIKITA BANWALIKAR GETS CANDID ON HER ARTISTIC PASSIONS AND ALSO, ON THE VARIOUS ASPECTS IMPACTING THE PERFORMING ARTS FIELD TODAY.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_column_text]
EDITOR’S STATEMENT:
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Nikita is a globally acclaimed Indian classical dancer, a Bollywood choreographer, an entrepreneur and a high achiever in academics – all rolled into one.
An Indian Council for Cultural Relations (ICCR) empaneled artist, Nikita completed her Masters in Performing Arts with distinction from Bharati Vidyapeeth. She was introduced to Indian classical dance at the age of 4. She was under the tutelage Dr. Manjiri Deo and completed Visharad from Gandharva Mahavidyalaya under her guidance. Later she was trained at Padma Bhushan Smt. Kumudini Lakhia’s Kadamb Centre for Dance, Ahmedabad. Her advance training was under Guru Shama Bhate in Pune.
A Centre for Cultural Resources and Training (CCRT) (an autonomous organization under Ministry of Culture, Government of India) young artist scholarship holder, Nikita has been conferred with numerous prestigious awards, including the Menaka Award by the Mumbai University for 2 consecutive years, Akhil Bharatiya Prathibha Puraskar, Gopi Krishna Award, Pandit Vishnu Digambar Paluskar Award, Nritya Vilasini and Nritya Sadhak. A gold medalist at the All India National Youth Festival, she has represented India twice at the South Asian Universities International Youth festival.
Nikita has presented solo classical recitals at art festivals in India and abroad. She recently toured UK where she presented her recent production ‘Samarpan’ at prestigious venues. She has also toured China and Europe for performances and workshops. She performed for TEDX when she was only 16. Her other noteworthy performances include: The music summit by Kala Sangam Bombay, Delhi International Arts Festival, Durga Festival, Kala Ghoda Arts Festival, Kalakshetra Chennai, Karavali Utsav, Aura-Aurangabad at Mahagami, Navapallava Mumbai, Kinkini Festival, ICCR Bangkok, ,Brahma Sadhana Samaroh.Kishor Sangeet Sammelan, Octave Festival, Aveg’12 at the National Centre for the Performing Arts (NCPA), Mumbai, among others.
Nikita has assisted choreographer Remo D’Souza in the making of song “Ghar More Pardesiya” from the movie Kalank. She got an opportunity to collaborate and present her solo recital with renowned musicians Shankar Mahadevan and Hariharan. Nikita has assisted celebrated choreographer Vaibhavi Merchant in various projects.
Nikita aims at carrying forward the rich cultural classical dance tradition throughout the world and preserve its true essence by the medium of her institute ‘Kala Vatikaa’ in Mumbai.
She also holds an MBA in HR from Symbiosis. passed the All India University Grants Commission (UGC) National Eligibility Test (NET) examination and is eligible for the post of Assistant Professor. She has done her Masters in Commerce.
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HERE, NIKITA BANWALIKAR SPEAKS:
On her experience as a global performer
As a classical dancer, it gives me immense pleasure to share the culture and tradition of the rich Indian heritage among the people abroad. I always find them more curious about our art forms and their love towards our traditions and it’s clearly reflected in the audience turnout at the events. I find foreigners to be more critical and clear about what they like and the way they reciprocate the same for the artists. The code of conduct during recitals is really amazing. Their patience to wait for the artist, greet the artist post performance is what I really look forward to.[/vc_column_text][/vc_column][vc_column][vc_row_inner][vc_column_inner][vc_column_text]They really appreciate something that is authentic. I have fond memories of my tour of the United Kingdom (UK) where I presented my first full production – ‘Samarpan’ – with a full house and I loved the response. Whenever I take a workshop, it’s so wonderful to see the way they set up a small Natraj Puja before the class starts. Their respect for our arts is what makes me feel proud to have pursued the art form.
On how Kathak has been influencing Bollywood choreography
Certain choreographies in Bollywood are inspired by the movement vocabulary of Kathak.
There has been a number of movies that had a background involving classical dancers or themes that had some relevance to Indian history or mythology. So classical dance was a part of these films. Classical music had a lot of influence on these movies. Also, films used to have choreographers who were prominent Kathak dancers, such as Natraj Gopi Krishna ji, Shambhu Maharaj ji, among others. The grace and flexibility in the movements and the large vocabulary to develop choreography has been an attraction. Also, Kathak having different shades of cultural diversity because of the phases it went through, makes it an irreplaceable choice for movies.
On her learnings as a choreographer in Bollywood
I have been fortunate to have got an opportunity to work with some brilliant Choreographers from the film industry. I got to assist Remo D’Souza sir and Kruti Mahesh for the song ‘Ghar More Pardesiya’. As an artist, I have always looking forward to dancing on stage. But creating something for the camera was a different experience. Choreographing a music which will be shown to the audience through your eyes, is what I was excited about. I now think of both the sensibilities when I work on myself. With Vaibhavi Merchant ma’am, it was directing an entire work of choreography. As she has been trained in Kathak, it was an experience I will cherish. While working with her for the Ambani’s project I got to choreograph around 50 Kathak dancers and with a huge set up of dancers from other dance styles. This taught me a lot in terms of choreographing for larger groups.
Choreographing for movies is not just about recreating the lyrics of the song, but also about keeping the situation and movie story in mind and developing movements that do justice to these. So it’s the ‘Kathakaar’ in a Kathak dancer that reflects during that time.
On the Revai brand of traditional Indian attires, which she launched recently, and how it blends with her journey in performing arts.
Revai is a product of my mother’s journey as a part of a dancer’s mother. Over the years we have travelled together we have visited a lot of places and both of us having a lot of interest in culture made us interact artisans and understand weaves from across the country.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”11478″ img_size=”332×409″][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]My mother has always been involved with designing my dance costumes. During the pandemic we came up with Revai as an attempt to bring people closer to the rich Indian heritage of textiles and handlooms. Through Revai, I speak for the artisans the way I speak through my art. We have been working with artists from small towns and villages and their families in the same sector for years and it’s wonderful to get to know their stories, their work and their passion for this art. As an artist having an eye for aesthetics, Revai has given me a new window of opportunity in the arts sphere.[/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row enable_arrows_animation=”no”][vc_column][vc_row_inner][vc_column_inner][vc_column_text]
On how Kala Vatikaa, her performing arts institute, has evolved over the years; and its future plans
I had started Kala Vatikaa to create a studio space for my riyaaz and rehearsals. I was not open to start teaching as I always felt I wanted to learn more but my parents pushed me to give it a start. Now, I just enjoy teaching. I always wanted to share with my students the things I couldn’t get easily from my teachers or the kind of training and explanation that came to me very late in my training years. My experience as a student helps me while teaching. For any artist having her own personal studio space is an accomplishment by itself.
I learn everyday with my students. I create new things for them in every class. At Kala Vatikaa we have a lot of foreigners coming to learn and I am blessed to have got this medium to spread the values and culture of this traditional art form among the future generations.
On how technology and Social Media can drive artistic passions
Technology for me has given me an opportunity to put myself in front of a massive audience in one click. Though I’m not very efficient or exceptionally good at it, it just worked for me.
During this pandemic when every artist was struggling to make a living, technology truly helped us to at least keep working in some way or the other way. Social Media helps artists connect with people from a larger geographical area and spread their wings wider
On the need to preserve and cherish the pure, authentic art forms
Every artist and art form is beautiful in its own way. As a classical dancer, I really want people to understand the difference between what’s the pure authentic form and what’s not. It’s we who have to make sure that the pure art forms which our senior gurus have struggled a lot to give a proscenium stage, reach our future generations. If we start diluting it, it’s pristine quality may get lost with every passing day. The generation we live in today is all about ‘likes’ and ‘views’. I would really like to say that it’s not about the ‘followers’ you have, don’t get fooled by the numbers, the quality of your work is what matters. I firmly believe quality is what matter, and not quantity.
Classical dance and music is a gem that our country has and it’s high time we cherish it and it gets the same amount of love, respect and recognition from we Indians like lit gets from people abroad.
Support your artist friends and do learn any art form in your life and see the joy that it will give you.
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