Manya Aggarwal, a recent BFA Dance Performance graduate from the California Institute of the Arts, is more than a dancer; she’s a storyteller, a culture curator, and a champion of nurturing dance spaces.
Manya’s journey into the world of dance, she explains, began almost before she could walk. “My parents told me I had been dancing since I was two years old, even when I was not in my senses, which prompted me to believe that I was born to dance,” she shares.
This innate connection to movement has fueled a diverse training regimen, encompassing the discipline of ballet and contemporary techniques, alongside the dynamic flair of hip-hop, jazz funk, heels, and the vibrant expressiveness of Bollywood fusion dance. This eclectic foundation allows her to craft a distinct artistic identity, one that resonates deeply with her roots in Mumbai and her current life as a Gen Z artist in the global hub of dance.
Her professional journey already boasts an impressive array of experiences. Currently, she lends her expertise as an instructor at the Ghungroo Dance School in Valencia, California, where she teaches “desi hip hop” and street styles to children and teenagers, imbuing her classes with a unique cultural flavor.
For Manya, dance is more than just a performance; it’s a profound form of connection and expression. Her biggest dream, she reveals, is to create a sanctuary for dancers and non-dancers alike. “My biggest dream is to have my own space in which people feel welcome to join me in my passion for dance,” she said. “I want my business to be able to create a safe space for dancers and non-dancers to feel at home.”
This vision stems from a keen awareness of the often-unhealthy connotations associated with the competitive dance world. “Usually, people tend to see dance only as competitive dancing and it is known to have a toxic connotation,” Manya explains. “I want to erase that reputation of dance and create a space, which is healthy and nurturing so people can explore dance as a creative medium and not one that demeans them.”
Her aspiration is to build a community that is “uplifting, as this seems to be lacking in the world,” where individuals can “channel their inner dancer” and collaborate.
While a definitive name for this envisioned space is still brewing, Manya muses about a working title: “Roots and Rhythms.” She notes “I think that connecting my cultural roots with the power of rhythm is a powerful way to share dance with the world.” This concept perfectly encapsulates her approach to choreography and performance, where the echoes of her Indian upbringing are thoughtfully woven into contemporary narratives.
The Los Angeles hip-hop dance scene, she says, is characterized by major mainstream jobs. “It is super commercial, which means that there are a lot of music video shoots, stage performances where dancers dance for artists, advertisements and much more,” she explains. Yet, within this bustling environment, she also finds immense joy in the vibrant freestyle form of hip hop dance, encompassing styles like breaking, voguing, waacking, popping, and locking. “I personally love exploring the LA hip-hop scene and its variety, as it has so much to offer,” she said.
Manya’s perspective on creating a healthy dance environment is rooted in empathy and encouragement. “Usually, one can tell by the vibes of the instructors as well as dancers,” she suggests. She acknowledges the inherent pressure in a city teeming with talent but emphasizes the importance of observing genuine joy and thriving in a space. When teaching children, she actively fosters a supportive atmosphere in her teaching techniques.
“For instance, every time that a kid takes initiative in performing the choreography as a solo during class, I make sure all the kids cheer that kid on so that he/she feels safe to share and to perform open heartedly,” she said. This mindful approach underscores her belief that “if a dancer is not a human first, they will not be able to create meaningful work.”
The competitive nature of the dance world, she concedes, is undeniable. “The dancer is seen as competitive because everything nowadays is based on how well you do a certain dance move.” While this can drive dancers to excel, it also places immense pressure upon them. However, Manya remains optimistic that this can be a source of growth rather than solely a burden.
When asked about her favorite dance form, Manya unequivocally chooses hip-hop. She traces this connection back to her Mumbai upbringing, where she encountered regional hip-hop that was “very expressive and open.” The democratizing spirit of hip-hop, where age and experience are secondary to the joy of movement, is what she cherishes. “I love that anyone can do it and there is no looking down upon anyone. You can start at age five or 50 years old. No one cares. That’s the beauty of it. It’s an inclusive dance movement, at its best.”
The influence of her Indian heritage is palpable in her artistic expression. “When I was growing up in India, I grew up watching Bollywood movies. I love adding a little Bollywood flair to my dance because I’m trained in so many western styles,” she explains.
This synthesis of tradition and innovation is what makes Aggarwal a compelling artist to watch, a testament to the power of cultural exchange in shaping the future of dance. Her creative goal is to fuse these diverse influences, to “lean more into my artistic voice, which is mixing and matching all the training I have had in the past few years and create something that makes me, me.”
