Voice of Rhythm with Sandip Soparrkar Bringing Bhojpuri Identity to Bharatanatyam

 

A Bharatanatyam dancer, Podcaster, TedX speaker and an emerging choreographer Vinay Tiwari, has trained under Vidushi Rama Vaidyanathan. Hailing from Salempur in eastern Uttar Pradesh, he is committed to bringing Bhojpuri language, culture, and traditions into the world of Indian classical dance. His debut solo production ‘Abhadra’ reflects his unique artistic vision and explores the cultural identity of the Bhojpuri-speaking community through Bharatanatyam. Excerpts from the interview:

 

Tell us about your dance training background.

I come from Salempur, a small town in eastern Uttar Pradesh. During my school days, I was introduced to Indian dance forms and developed a keen interest in dance. At that time, I did not even know the difference between Bharatanatyam and other classical forms; I simply knew that I wanted to dance. Someone referred me to Bhatkhande Music University, where I completed my Diploma in Bharatanatyam and also earned a diploma in Indian folk dance.

 

I often say, “I didn’t choose Bharatanatyam; Bharatanatyam chose me.” During my university audition, I was actually performing more gymnastics and contemporary movements! Coming from a family associated with education—my mother was a government junior high school principal—I also completed my master’s degrees in Sociology and later Bharatanatyam.

While pursuing my senior diploma, I watched Padma Bhushan Dr. Saroja Vaidyanathan and Sangeet Natak Akademi Awardee Vidushi Rama Vaidyanathan perform. That experience changed my life and made me realise that I truly wanted to become a dancer. After completing my diploma, I worked at Delhi Public School, Lucknow, but eventually quit my job and moved to Delhi. I have now been living here for eight years, training under my gurus and continuing my learning and guidance under Vidushi Rama Vaidyanathan ji.

 

How did you conceive your production Abhadra?

As a student of Sociology, I naturally observe and question issues around society. Growing up in eastern Uttar Pradesh, I noticed that people were often discouraged from speaking Bhojpuri. We were sometimes made to feel that if we were educated or privileged, we should avoid our mother tongue.

After moving to Delhi, I saw my South Indian friends proudly speaking their mother tongues alongside English. It made me question why I hesitated to speak Bhojpuri. I began speaking it with people, and I noticed that many understood me but replied, “We understand it, but we cannot speak it.” I wondered: if the present generation cannot speak the language, how will the next generation learn it?

 

A conversation with my mother made me think even more deeply. When I asked her about the rituals of Chhath Puja, a festival she had celebrated throughout her life, she struggled to explain them. I realised how much cultural knowledge we are gradually losing.

This inspired me to create Abhadra, my first solo production and, to my knowledge, the first Bharatanatyam production presented entirely in Bhojpuri. Through it, I wanted to explore Bhojpuri culture, traditions, identity, and the lives of people from Bihar and eastern Uttar Pradesh.

 

Who do you credit for the success of the show?

The concept, idea, and much of the research were my own, and I believe young artists should not hesitate to acknowledge their own creative contribution. At the same time, Abhadra would never have taken shape without the support of many wonderful people.

My greatest gratitude goes to my Guru, Rama Vaidyanathan ji, who encouraged me to choose Bhojpuri as the language of my first production. Her support gave me immense confidence.

 

Musically, Shri Sridhar Vasudevan composed for the production and contributed his voice to the Carnatic sections and dialogues. Jay Dadheech, who has performed alongside the legendary Pandit Birju Maharaj ji, also contributed his talent. Senior flautist Shri Rajat Prasanna added his artistry, while Shri Himanshu Srivastava helped me understand the deeper significance of Chhath Puja. My dear friend and well-wisher Sannidhi Vaidyanathan contributed as a mridangist. The music was recorded at Neelam Studio under Shri Prashant ji.

 

What challenges did you face?

The biggest challenge was overcoming my own fear. I knew I was attempting something completely new—a full Bharatanatyam production in Bhojpuri. As a young dancer, I understood that it could either create a new path or fail.

Finances were another major challenge. Living in Delhi while managing a full-time job, music, costumes, logistics, rehearsals, and production requirements was overwhelming. Yet my conviction kept me moving forward.

Today, the challenge is reaching larger audiences and encouraging people to understand the value of paying for art. Productions require considerable investment, but I believe the subject and message are more important than the obstacles.

 

Why did you choose a solo production?

Abhadra was deeply personal. It emerged from my own experiences, questions, and emotions, and I felt that a solo format would allow me to express them most honestly.

I have immense respect for group productions and have learned a great deal from performing in my gurus’ choreographies. But I also wanted to discover my individual artistic identity. Watching Rama Vaidyanathan ji and the talented dancers around her taught me the importance of every artist finding their own voice.

I knew there was a possibility of failure, but I wanted to take that risk while I was young. I believe there is no real failure—only success or learning, and both are valuable.

 

Do social media followers matter more than live audiences today?

Social media is a powerful tool, but we must remember that we should use social media, not allow social media to use us. Instagram and Facebook help artists reach new audiences and communicate their ideas. Many opportunities have come to me because people discovered my work online.

 

There is, however, a huge difference between creating a one-minute reel and performing a two-hour Margam. During a six-month break from the stage, I created short videos sharing my thoughts on Indian classical dance. Some reached millions of viewers across the globe. Social media also enabled me to interview respected artists such as Dr. Padma Subrahmanyam, Raja and Radha Reddy, and Meenakshi Seshadri. I was also invited to promote the Khajuraho Dance Festival through social media.

So, I believe social media can become a bridge between tradition and the modern world—provided we use it meaningfully.

 

What are your future plans?

This is only the beginning. I am researching Bhojpuri literature and exploring how forms such as pad, Kajri, Sohar, and traditional Bhojpuri music can enter the vocabulary of Bharatanatyam. I also continue to work on the traditional Margam, particularly Varnams, while developing my own choreographies.I want to raise awareness about the linguistic and cultural challenges faced by the Bhojpuri-speaking community. At the grassroots level, I am also working towards introducing classical dance education in villages and districts around my hometown so that children understand that art is not limited by geography or privilege.Through my dance, photography, social media content, and video interviews, I hope to make unheard voices more audible. My philosophy is simple: it is okay to fail, even to fail miserably, but it is never okay to stop. I want to keep working with sincerity, passion, and consistency. This is only the beginning, and I believe the sky is the limit.