Nikita Teresa Sarkar


Artist & Facilitator • Partner Success Manager, Dara Network | Co-founder & Production Head, Falana Films | Founder, SICCA Collective | Technical Director, Tantidhatri Festival • she/her

I started my path as a fresh theatre graduate but soon realised that my interest lay in performance studies and my skill in production. A good way to blend the two was to create experiences that served as transformation stimulus tools in social set ups. My work revolves around Gender, Ecological Sustainability and Privilige Awareness. After graduating from the Drama school, I joined Whistling Woods International Film School in Mumbai as a Junior faculty in their Acting Department. I quit my job because I wanted to train myself further in two specific art forms - Baul and Kudiyattam - to study in depth the language of these performances. Inspired by the principles of spectatorship of these traditional art forms, my work attempts to create a bridge between art and therapy. I also take workshops in the local prison and work with the tools of forum theatre. I later co-founded an arts collective called The P(art)icle and we work in the field of applied arts and experience curation. I am also the founder of the SICCA (Sustainable Indigenous Centre for Collaborative Arts) in Shantiniketan that aims to be an incubator for the arts.

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Bangalore 🇮🇳 India

The work I do is driven strongly by three core principles - Politics of Identity, Eco-Sustainability and Mindfulness. The expression of my work has taken many forms and has given me the opportunity to play varied roles, ranging from a curator, performer, director, facilitator to an arts manager and activist. My projects provide me a creative platform to start conversations about uncomfortable yet necessary issues like the LGBTQIA+ rights, the problematic relation of waste and caste in India, the importance of mental health discourse, women safety concerns and other topics. The advocacy here lies in involving the audience actively as participants, rather than passively as mere spectators, to encourage an attitude of 'doing' and not just being. This has been my motive in all my work - to become a facilitator of experience driven performances that trigger discussion of socio-political concerns.


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