When Nikolina Nikoleski
was 13, she saw a Bharatanatyam dance and was smitten. Years later,
the Delhi-basedNikolina is an accomplished Bharatanatyam dancer
herself
By
Shevlin Sebastian
One
night, in 2010, Croatian dancer Nikolina Nikoleski was
doing a Bharatanatyam recital on a stage at the banks of the river in
Varanasi during the Ganga Mahotsav festival. To one side she could
see small boats in which sat people, holding urns, that contained the
ashes of their beloved ones.
“A
little strip of water separated me and the boats with the grieving
relatives,” says Nikolina, at the conclusion of a dance
recital at the JT Performing Arts Centre, Kochi. “In India, death
and life lie next to each other. I would not have this experience in
Europe, because I would be performing in an enclosed environment like
a theatre hall. In Europe, we do not see pictures of death, nor do we
talk about it. But in India you are constantly reminded about it. And
that is why I like India so much. It is emotionally so intense.”
Nikolina was
only 13 when, as a student of the High School for Dancing and
Rhythmics, she had an interaction with classical dancer Sonal
Mansingh at Zagreb. “Sonal explained to us the how and why of
Bharatanatyam, and the meaning of the mudras,” says Nikolina.
“She had an aura around her.” Fascinated, Nikolina did
extensive research on Indian dance and mythology.
After
further stints of Western dance training in Austria and
Germany, Nikolina came to India in 2004 and spent six
months at the now-defunct Bhaskara College of Fine Arts in Payannur
in Kerala.
Thereafter,
in 2005, she secured a five-year scholarship from the Indian Council
for Cultural Relations. So she re-located to Delhi and trained under
her guru, Padmabhushan Dr. Saroja Vaidyanathan at the Ganesa
Natyalaya Dance Institute.
She
says that it was not tough to learn Bharatanayam. “The only
difficult part was that I had to learn to have an expressive face,”
she says. “In western dance we are introverted and the hand
movements are simple and subtle. What helped me was that I was living
in India. So I could see, 24x7, the way people shook their heads and
used their hands so expressively.”
Asked
the difference between Western and Indian dance, Nikolina says,
“In contemporary Western dance it is all about fighting gravity. So
there are lots of leaps and pirouettes. Also, there are duets and we
hold each other's bodies often.”
On
the other hand, Indian dance forms are all about the individual, even
though the performance takes place in groups. “There is no physical
contact or partnering,” says Nikolina. “Even if it is
Shiva-Parvati, he is never lifting Parvati up in the air and
pirouetting. I think this has got a lot to do with Indian culture,
where a rigid caste system has discouraged physical interaction
between people.”
Despite
this, India, with its multicultural and multi-religious society,
reminds her constantly of what her country had been. After the
1991-95 War of Independence, Yugoslavia broke up into several
countries like Croatia, Slovenia, Macedonia, Serbia, Montenegro, and
Bosnia. “It was a difficult time, although personally I did not
suffer much,” she says. “The families are mixed. My mom is
Croatian, while my father is Macedonian. But my family decided to
stay together, no matter what happened.”
Now
many people are nostalgic for the old Yugoslavia. “There was no
need for a break-up,” she says. “All of us speak the same
language, eat the same food and have the same culture and climate.”
But,
at this moment, all this is far away for Nikolina. She is
enjoying her career as a classical dancer as well as a teacher in
India.
(Sunday
Magazine, The New Indian Express, South India and Delhi)
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