The father of contemporary jazz and western dance forms in the country is undoubtedly Shiamak Davar. In his over two-decade-long journey, the choreographer’s CV is enriched with all the feathers. Whether it is the National Award (for best choreography in Dil To Pagal Hai) or the honorary doctorate (Middlesex University) or inventing the Shiamak Style of dancing or choreographing for Commonwealth Games, Mission Impossible 4, Davar’s resume has it all.
Shiamak, belonging to the Zoroastrian clan has had a long journey from Dil To Pagal Hai (DTPH) till Jagga Jasoos. Just like DTPH completed its 20 years in 2017, so did Davar’s journey in the Hindi film industry. In an exclusive heart of hearts conversation with TellyChakkar, Shiamak opened his heart out about his expedition. Little trivia, Davar belongs to the family of the iconic fearless Nadia!
The extracts of the interview will bring to you certain unknown aspects of Shiamak’s life and about DTPH, they are as followed.
It’s been 20 years of Dil To Pagal Hai! How has your experience been while choreographing the film?
It was new, innovative, a challenge and a breath a fresh air. I was very nervous while doing the movie. Everything worked out well and it is one of the best experiences in my life
Out of Shah Rukh Khan, Madhuri Dixit, Karishma Kapoor, and Akshay Kumar who was the toughest to teach the choreography?
The easiest obviously were Madhuri and Karishma since they are dancers. Madhuri had a very classical style of working while Karishma was like high octane energy so they would complement each other. Consequently, for me, it was really nice to work with both of them because they were so different from each other. Shah Rukh would work really hard. If there was a step which he couldn’t pick up; sometimes I would tell him ‘Shah Rukh, look if it’s difficult I can change that for you’, he would persist me to not change anything. And eventually, he would pick up. Honestly, it’s really because of him that I’m in this movie and I did this movie because he really forced me to do it.
Karishma and Madhuri were alleged arc rivals at that time. Were you in any way conscious while choreographing the two of them specifically?
Firstly, I was anyway very nervous while doing my first film. Secondly, Karishma and Madhuri’s alleged rivalry was rubbish, all nonsense. There was nothing like that. Karishma knew her strength, Madhuri knew her strength. Yes, I was very conscious because I was choreographing them for the first time and there were different kinds of styles. As I said earlier Karishma was very strong youthful and full of energy, on the other hand, Madhuri was very youthful as well but with a classical touch. She was more classical and Indian so it was a challenge to work with both. My counting style, the way I interpret music, the way I speak, the way I choreograph was very different so they had to get adjusted to that fact.
DTPH is a cult musical-dance in Hindi film industry. Why do you think no other musical-dance film has not even come close to the film?
I think DTPH was first of its kind. I was very reluctant to do the film because I thought my God, my western Shiamak style would never work but it did! There was a professional kind of setup and the choreography was different, it was fresh. I think it was a film that worked somehow magically. I don’t know about other dance films!
Despite being part of great Hindi films the audience sees so less of you in the current times. Why is it so?
I love watching films, I love to choreograph for them but I like to choreograph movies that have challenges. Unfortunately, everybody knows that I love my dance education and what I do for my school is paramount than anything in the world. On that basis, I have taken a back seat in films. I think that if I was given something to do that was very challenging, different and fresh I would do it. Doing routine songs every single day of my life as a choreographer in films I would feel wasted. I would feel I’m not contributing to anybody. In my dance education programmes, I feel satisfied.
Do you prefer Stage over films?
I definitely prefer stage over films because the stage was where I started. Despite living on the sets of films thanks to my great aunt Fearless Nadia and my grandfather Homi Wadia, my actual action began on stage. It will always be my first love and then films. Although I can tell you I love watching movies more then I watch stage performances, so figure it out.
With a plethora of dance reality shows on the tube, what do you have to comment on them? Are you staying away from them?
Dance reality shows are a good platform for people to come and work on. I never had a platform in my life to push me I had no one to push me. I only encourage that people do fewer gymnastics and do more dance because for me dance never was gymnastics I feel that dance reality shows should be coated more on dance and less on wow factors of stunts. I have never understood why it always has to be that one person who does all these gymnastics win than the person who dances really well. Having said that, reality shows also give a chance to someone like a driver’s son who cannot easily get breaks. In that way it is great!
So, what are you up to these days? What kind of headspace are you in?
My headspace has always been involved in much spiritual work. My headspace has become calmer and more relaxed. I love teaching! I think the biggest high of my life is teaching. I myself teach for 5 hours in my dance programs. I also love spending much time with my family and friends.
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