By Dipti Humraskar and Rujan Sarkar
What happens when traditional folk theatre meets sensitive and pressing conservation issues? One such outcome is Vanyavani - an initiative using the power of storytelling to ignite conversations around conservation. Founded by Makarand Sawant and Kunika Bansode Sawant, Vanyavani blends humour, emotion, and research with India's rich folk art to reconnect people with nature - one performance at a time.
We spoke with Makarand and Kunika about their journey, the power of folk arts, and how a leopard or a vulture can become the heart of a compelling stage play.
Image: The audience, captivated by Sangeet Bibat Aakhyan’s performance
Tell us about yourself. What inspired you to start Vanyavani, and how did you decide to combine theatre with wildlife conservation?
Makarand: "I’ve been immersed in media and theatre for over a decade—writing, directing, and bringing stories to life on stage. While the work was fulfilling in its own way, I always had a deeper urge to create something more impactful—something that went beyond entertainment and could genuinely contribute to society." That desire took shape as Vanyavani – Voice of the Wild.
The turning point came during a visit to Ozar in Junnar, where I watched a traditional kirtan that deeply moved the audience. Later that night, I saw a family applying its lessons—saving water, respecting trees, avoiding plastic. It showed me the strength of infotainment—when education is woven with entertainment, it stays with people.
I’ve always loved Maharashtra’s folk arts like kirtan, powada, and bharud. These aren’t just performances but fading traditions. That’s when it clicked: why not use these forms to talk about wildlife and the environment?
This led me to create Sangeet Bibat Aakhyan, a musical on human-leopard conflict. Dr. Vidya Athreya saw it and believed in its potential. With her guidance, Vanyavani evolved into a youth-led initiative using folk theatre to raise awareness and inspire coexistence. It’s where passion meets purpose.
Image: The Vanyavani team with the members of the WCS-India team
Wildlife conservation is not a common topic in plays. How did you find people interested to use theatre for conservation, and who makes up your team?
Makarand: When I started Sangeet Bibat Aakhyan, I had no team—just a clear vision. And when that’s strong, the right people just align. My wife Kunika who is my strongest critic and my biggest supporter was the first. She reminded me to use my strengths – acting and storytelling, for something bigger. Then came Dr. Abhishek Satam and Mr. Akshay Mandavkar, whose invaluable insights gave the play depth and direction, grounding it in real world issues, turning it into a tool for awareness.
Our cast was sceptical at first, but each performance changed them as it changed the audience. Today, Vanyavani is a vibrant collective of theatre artists, wildlife experts, musicians, and youth – many from rural Maharashtra steeped in folk music and storytelling. Our actors carry emotion; our researchers bring in the facts and our musicians blend it all in with lokdhara (cultural heritage).
Image: The Vanyavani team after a performance
A folk singer now sings about marine biodiversity. A theatre artist discusses forest policy with a biologist. That’s the magic of Vanyavani—it’s not just a team; it’s a community using art to reconnect people with nature.
Your first play tackled the complex issue of human-leopard conflict. What inspired this, and how was it received?
Makarand: It started in Ozar, Junnar, one of my favourite places in Maharashtra. I was staying with a friend in his mud house. I heard locals talk about leopards—not with fear, but stories mixed with humour, caution, and everyday wisdom. Not as a “wildlife issue” but life as usual.
That’s when it struck me, these weren’t just anecdotes but voices that deserved a stage and could travel far and beyond. That’s when Sangeet Bibat Aakhyan was born - not written in the traditional sense but shaped by real people and their experiences. It felt like a story gifted by the land, its people, and maybe even the leopards.
I wasn’t sure how urban audiences would respond, but the response was overwhelming. People didn’t just laugh and enjoy the music—they walked away with new perspectives. A forest officer once told us, “You achieved in one evening what we’ve struggled to do for years.” And a farmer said, “I used to see leopards as threats. Now I see—they’re just trying to live, like us.”
From a small village evening to packed auditoriums, Sangeet Bibat Aakhyan carries that same essence. And as we like to say—#BibatBlessYou!
Image: Makrand Sawant, co-founder of Vanyavani
How do you go about transforming serious environmental issues into entertaining, accessible skits without losing the core message? Would you like to share any insights for people who are also interested in using art for conservation?
Makarand: Theatre is like ukalalele dudh - boiling milk - if you don’t stir it right, it overflows or burns. It's the same with serious topics. Too intense, it feels like a lecture; too light, the message disappears like the aroma of garam bhajji, gone before it reaches the heart. So, I focus on telling a story that first entertains, because je manala lagta, tech lakshat rahta—what touches the heart stays in the mind.
Comedy is my go-to.
Image: A scene from Sangeet Bibat Aakhyan, Vanyavani’s powerful folk musical on human-leopard interactions
With heavy topics it becomes even more powerful. They laugh, they relate, and in that comfort, the message sinks in. But muktaful pikal pan bhui la padla nahi. Entertaining doesn’t mean it lacks depth, I put in solid research, talk to forest officers, ecologists, and most importantly, I listen to the real heroes—farmers, tribals, and villagers. Their words, accents, and lived experiences shape the script. When a villager says, “Arey, ha tar aamchya gharacha prakar jhala!” (This feels like our own story), I know we’ve struck the right chord.
For those wanting to use art for conservation, start with emotion. Don’t preach—let people feel. Use humour, music, local dialect - whatever connects. And always respect your audience; honesty resonates. That’s how Vanyavani works - we’re not just performing, we’re igniting conversations. And like rivers, those conversations flow – quietly yet powerfully, long after the applause fades.
Image: The audience, captivated by Sangeet Bibat Aakhyan’s performance
Have you noticed a shift in audience perspectives or behaviors after watching your plays? Any memorable feedback that stuck with you?
Kunika: Absolutely. Coming into theatre from outside, I’ve noticed the transformation more sharply. I wondered—can a play really change someone’s view on wildlife? But time and again I’ve watched it happen, especially in kids and young adults. They start seeing leopards with familiarity and empathy, not fear.
One girl wore a #BibatBlessYou t-shirt after the play and said, “Now whenever I see a leopard’s photo, I’ll think of your play!” That moment said it all—the story stayed with her. We started the Vanyavani merchandise line —t-shirts, tote bags, stickers, and wildlife fact booklets, because people want something to carry the experience. They’re not just souvenirs, they’re reminders.
One moment that really moved me was at a corporate show. A professional came up and said, “I’ve never thought of leopards in the city as struggling or coexisting, only saw them as dangerous. But your play made me feel like we are the intruders, not them.” That’s a breakthrough when people with no direct connection to forests start reflecting on coexistence; it’s powerful.
Image: Kunika Bansode-Sawant, co-founder of Vanyavani
Vanyavani turns facts into warm stories. And when audience carries that warmth forward, that’s the real impact.
Image: A still from Sangeet Bibat Aakhyan
Your second play focuses on the decline of vulture populations due to diclofenac. What made you choose this topic, and what do you hope audiences take away from it?
Makarand: It began unexpectedly at a vulture conservation workshop by Tarun Bharat Maharashtra. While experts were preparing to present research, Akshay turned to us and said, “You are storytellers—can you make a 15-minute play on this?” I was sceptical at first. Vultures? Really? But curiosity got the better of me.
The story unfolded as I dug deeper. Vultures, often seen as dirty or ominous, are nature’s cleanup crew. Their decline due to diclofenac has not just affected the environment, but also ecosystems, public health, and cultural rituals around death.
That’s when the name struck - The Cultured Vulture, a term that typically refers to someone with a deep interest in art. I thought, why not turn our audience into cultured vultures? What began as a short piece grew into a full length play prompting questions like, “What will happen to the balance of nature if vultures vanish?” and comments such as “I didn’t know vultures were so important”. Theatre took this forgotten and misunderstood creature and placed it centre stage.
Image: A still from Sangeet Bibat Aakhyan
What’s the biggest challenge in using theatre to convey conservation messages — and what keeps you motivated despite those challenges?
Kunika: One of the biggest challenges is breaking the stereotype that conservation is only for scientists, forest officers or policymakers. When people hear “wildlife play,” they often assume it’s too technical or only for children. But theatre is a powerful, a living art capable of making people laugh, cry, question, and reflect—all in the same breath.
Finding the right balance is crucial - lean too much towards entertainment, the message risks getting diluted; too informative, people lose interest. That’s where folk forms help - they bridge this gap beautifully. Kirtan, powada, loknatya—these traditions have long passed wisdom through rhythm and emotion. They don’t just convey a message; they create an experience.
Reaching the right audience is also a challenge. In conventional theatre, people come to you. Here, we take the play to the audience—schools, temples, gram sabhas, even under trees—because it’s farmers, students, forest dwellers, and policymakers where we see the deepest impact.
What keeps us motivated is the change we see. A teacher once said her students started asking about careers in conservation after watching the play. In another village, a man said, “Tumcha natak baghun kalala ki giddh naslele aaplya gaavala kiti motha nuksan aahe” (Your play made me realise what a loss it is not having vultures around). These moments remind us—we’re not just performing, we’re planting seeds. Some grow fast, others take time. But they grow. And that makes it all worth it.
Image: A scene from Sangeet Bibat Aakhyan
What do you hope audiences take away from your plays? Where do you see Vanyavani going from here?
Kunika: We aim to take audiences on a journey where they stop seeing wildlife as something distant or irrelevant to their lives. It’s not just about tigers in remote forests; it's about understanding how wildlife is woven into the fabric of our daily existence—the birds outside our windows and the trees lining our streets. This shift in perspective is what we hope people take away from our plays.
Vanyavani is also committed to preserving folk traditions. As these art forms face extinction, we are not only raising awareness about wildlife but also uplifting the artists who keep these traditions alive. We’re creating livelihoods and helping pass these cultural treasures to future generations.
Looking ahead, we want to take Vanyavani beyond the traditional stage reaching audiences in every corner of India. And beyond that, we see Vanyavani as a global model where art, culture, and conservation come together. Our goal is to highlight how deeply our relationship with nature is rooted in heritage, and to share both the challenges and wisdom embedded in India’s folk art with the world.
Conservation isn’t just environmental—it’s cultural. It’s about how we live with nature, and the stories we leave behind.
Image: A scene from Sangeet Bibat Aakhyan