Shiamak Davar

When dreams get bigger

My favourite track is Tu hi tu, which Kavita Krishnamurthi has sung mind-blowingly. God! That woman is amazing, she’s so humble, she’s so good at her job! And she told me that she was thrilled to sing for me!

His bio-data lists even his height and the colour of his eyes and hair. It mentions his skills as “singing, acting, dancing, choreography, direction, music composer and song writer.” To which Shiamak Davar has now added the tag of “music video director”, and a string of awards (Screen-Videocon, Zee Cine, National, Aashirwad, Hero Honda-Stardust) as film choreographer for Dil To Pagal Hai and Taal.

What it omits to mention, no doubt due to space constraints, is Shiamak’s natural inclination for excelling himself at whatever he does, and the immense humility possible only when achievements are real rather than hyped.

He is the founder-director of the Shiamak Davar Institute of Performing Arts - which conducts classes in jazz and other dances for people from “four to 64 and more” all over the megalopolis - the Shiamak Davar Dance and Junior Dance Companies and the director-cum-conductor of the much talked about summer event “Summer Funk” and MTV Asia’s Club MTV. He has choreographed and hosted a pioneering tele-serial “Body 2 Body Soul 2 Sole” on Zee.

In his individual capacity, he has also done ad films as well as popular English musical theatre as an actor, singer and choreographer and was involved in plays like Tommy, Evita, Grease Lightning, Bottoms Up, Cabaret, Last Tango In Heaven, Othello, Panchatantra and My Fair Lady. Besides having choreographed the dance sequences in Dil To Pagal Hai and Taal, he has also sung, choreographed and performed in the snazzy title sequence of Hrishikesh Mukherjee’s Jhoot Bolay Kauwa Kaate and cut three albums, Shiamak in English, and Mohabbat Kar Le and the recent Dil Chahe in Hindi.

After winning the first of the many choreography awards for DTPH and the immense success of his debut Hindi album, Davar had promised himself not to go commercially berserk and avoid both doing repetitive work as well as the routine jhatkas. He has kept his promise.

Today, winning awards and excelling have almost become a habit. So much so that his latest award (from Hero Honda-Stardust) for Taal fails to evoke that kind of eager enthusiasm. With his second album getting a rave response (it is among the top five on most charts), Davar is more upbeat about the fact that he dared direct the video and came up with a result which is being termed as “mind-blowing”. His dreams are getting bigger and he is eyeing the international scene as both choreographer and musician.

Excerpts from an interview:

Did the suggestion to direct the video come from others, or was it your dream?

It was Vijay Lazarus of Universal Music who suggested that I direct the video as well, considering my complete involvement in my album Dil Chahe. I directed it from my own concept and designed the costumes myself. It was shot at Famous Studios Mahalaxmi over a period of three days on an absolutely wow set designed by Opus Planet. Ravichandran, who’s done work with Priyadarshan, was my cameraman and the poor guy was flummoxed and confused at what I was making him do. But after the edit - which Asif Ali Shaikh did brilliantly to my needs - he was floored when he saw the result!

How confident and how nervous were you on entering another new sphere of activity?

Oh, I had my doubts. But not only was I encouraged by everyone around but also by the Bhavnagris, who are my friends from the spiritual world and told me not to get scared and go ahead and do it! When I choreograph for films, I have to work according to the needs of the story and the director. The fact that I was given total freedom to put the wildest possible dreams in my head on paper, and actually execute them was an incentive and it helped my confidence surge. I had a dream team and Glen, my manager, who is also one of my lyricists in both my albums, and his wife Shiraz were invaluable. Besides, I had discussed the concept with my friend director Sanjay Gupta and he thought it was beautiful. And though I say it myself, I think I have done a good job! Obviously everyone knew that what I would do would not be routine stuff - I wanted to do my own thing!

What about Dil Chahe? Has it got the same kind of response that Mohabbat Kar Le did?

Frankly, I have been out of town on shows so I wouldn’t know exactly what’s happening. What I do know is that it is selling very well and people are floored by the sound. The title-track has some really beautiful blend of Maharashtrian and West Asian music. Ashutosh and Dhruv are terrific people to work with, and immensely humble guys. They have given me what I wanted - a new, distinct sound, a group of assorted numbers that can be put on stage as dance numbers and yet have lyrical and musical substance. Even the slower numbers have a definite rhythm. You see, I never could have done a typical album with bhangra-pop and what-have-you. A lot of me is reflected in it too!

Tell me how?

Despite all I have done, acquired and achieved, there are times when I feel absolutely lonely and lifeless. I wanted a song that mirrored this kind of mood - that’s how Bejaan was written and composed. Zindagi is another track I identify with, as is Kahan jaa rahe hain, which is an introspective kind of song. My favourite track is Tu hi tu, which Kavita Krishnamurthi has sung mind-blowingly. God! That woman is amazing, she’s so humble, she’s so good at her job! And she told me that she was thrilled to sing for me!

How did you approach her?

I confess that I asked Subhash Ghai to talk to her on my behalf, because I have always loved her voice!

Why didn’t you repeat the musical team of your previous album?

The music director and I had had problems. I would rather not say anything more.

Why didn’t you compose then, especially since you have done Come on Raju..., which was so popular on stage and in the previous album?

I may compose next time round, definitely. But let’s see - I want to look at the international scene now. The feedback I have got there is amazing. It’s all in the hands of destiny.

You are a strong believer in destiny?

Yes, but I don’t believe in sitting and waiting for things to happen. You must try and make them happen! I believe also that life is a journey and not the end, and I have full faith in karma and cosmic justice. Faith and patience, as Shirdi Sai Baba says, are all important. If you are a good person, you will get your wishes and dreams fulfilled, even if you suffer for a long while.

Are you religious as well?

I believe in the religion of good words, good thoughts an good deeds. I really believe that all human beings are born equal - equal, you see, not same. Zarathustra, Ganpati, Sai Baba, Hanuman, - all these are spokes of a wheel whose center is God.

In all your activities, which is closest to your heart?

Teaching! My top priority will always be my school, which is why I was hesitant about entering films before Yash Uncle, Shah Rukh and gang brain-washed me! I have inherited my love for teaching from my dad Nanabhoy who owns Davar’s College Of Commerce. My mother is also a lecturer there.

What was their reaction when you opted for arts rather than academics?

They have always been supportive and broad-minded. They are proud of me - I guess I must have done some great karma in my past life to get such parents!

What really made you come into this field?

The legendary filmmaker Homi Wadia was my granduncle, and Fearless Nadia was my great-aunt! From day one, I have been exposed to films. I would go on the sets of their films literally every day and watch shoots. I used to imagine I was this great star, dancing, singing and playing on the sets! I became a musician - playing the piano and composing and singing - and actor first, and a dancer and choreographer afterwards. I knew right from my school and college days that one day I would be as famous as Elton John!

What do you think about choreography in Hindi films?

Terrific! I think Kamal Haasan and especially Govinda are brilliant! Govinda is so talented; there is emotion in his movements, which is what dancing should be all about, because you cannot totally segregate acting, dance and singing. Each complements the other and all need emotions. And among the females, Helen was unbelievable!

But don’t you think that of late there are too many Western influences, including in your work?

Well, trends change and today that is what sells. But even in my dances, despite my Western training, the Indian element comes in automatically.

Rajiv Vijayakar