Shiamak Davar, Rotary Club of Bombay’s Kalpana Sham Munshi Lifetime Achievement awardee in Performing Arts, in conversation with Rtn. Yasmin Divecha
Rotary is a familiar name with you — your dad, your brother, and now Darab is a member. Has he come today?
No, he’s got typhoid, unfortunately. Zarine is here, but Darab drove me nuts with his typhoid because I didn’t know if I was going to come here today or be with him. I’m just joking. He’s my brother. He’s been here with Rotary and my father for 100 years.
But did you ever come with your dad?
I was invited many times, so I would come for the food and then go away. And it was at the Taj — I think all of them were at the Taj. And while Daddy would talk, I would run away, eat more food, and come back.
So, you’ve never had the privilege of doing an event for Rotary?
I did, for your farewell.
You had a lot of association.
Rotary was in my house every day of my life. Because of those meetings, Daddy had to be on time, Daddy had to go. So, it was a whole thing. I just kept hearing “Rotary, Rotary, Rotary.” And my grandfather and my father were in something called the Masonic Lodge. It was next to Sterling. So, he was the guy who started it in India. So again, a lodge with the secret handshake, which I had no idea about until today. I still don’t know what the handshake is.
So you had your dad and your brother, but I think your mum was also a huge force of strength in your life, right? And I think she was one of your most ardent supporters and fans. She came to every concert, she toured with you, and she even came when you went to meet Prince William.
Yeah, so they came to Bombay, and Kate and William were there, and Shah Rukh Khan was next to him. Suddenly, while I was performing and my dancers were performing, William nearly got up to party — imagine the future king of England doing that! Then, I think Kate sat down, and he looked at me like this. So, he was a sweetheart. And then when I met the Queen, I told her, “You know, William was really a live wire.” She said, “What do you expect? I probably think he’d jump on the table.” I said, “Oh, okay.” That was what she said.
But how much of a guiding force was she in making you into the persona that you are today?
I think, if you know Parsi families, as you do, they think what I was doing was ghela ganda. It means rubbish and nonsense. And leg upar karaych, nay kick karaych, nay dance karaych. So it was always very frivolous. But my mother and father never thought I would do anything like this. But in my living room, I used to open the curtains for my cousins, who would all be sitting down, and I would enact scenes from movies, play the piano, and sing. And I thought I was this Academy Award Oscar-winning legend in my living room performing these things. And there was nothing like dancing for me. I used to just dance with my friends at discos and parties and everything, and that’s really what it was like. There was nothing to do with choreography. I used to play the piano and sing. I think I was about four or five years old. So singing was actually what I was about, not even dancing or choreography.
At least you performed. A lot of us are shower singers and bathroom singers; we stick to that.
I love singing, so for me, it was actually what got me into many other things.
Wonderful. So of course, we know Shiamak the choreographer, we know Shiamak the dancer, Shiamak the singer, Shiamak the creative genius — but who is Shiamak the person?
Hmm, complex. Very confident, but also very insecure.
Really?
Yeah, I never take my audience for granted before a performance. I never say, “Oh, I’m Shiamak Davar, I’ve done over a thousand shows.” Every show for me has to be better than the last one. Otherwise, I’m very depressed. I’m very sad. I have to be… I don’t know about the word “perfection.” I don’t know if there’s anything called perfection, but I know there’s striving for excellence and all that, but the thing is, I like to do things my way because, see, in my time, when I did dance classes, people literally slammed doors in my face because they didn’t understand what I was doing.
When I asked the principals of schools if I could do jazz classes, they would ask what was jazz. So, it was just jahaj, you know? So, I said jazz is a form of dance class, and my Hindi was also beautiful because I can speak Gujarati very well, but she would say, “Impossible. No girls and boys in class, sorry. And it’s Western? No. Why is it not Indian dance?” So, there was a lot of opposition. A lot of people made fun of me. They never liked me. I was the guy who danced. In school, I was the clown because I was always looking for attention. So, what would I do? I’d go down and play the piano and sing.
Malini and Sandip, they all know from school what I used to do. And I wasn’t considered anything. I was quite a dubbo in school. I was like 56%. I was never like my sister and Zarine Davar. My God, she’s some 99% woman, so I don’t answer, no. I don’t get those brains. Even Sandip was some 100% nonsense. So, I couldn’t understand it.
Luckily, Alyque Padamsee, who saw me, said, “This boy has talent, and I’m going to use him.”
So, when Dalip Tahil left while he was doing Evita — he was playing the role of Che — he made me sing in the role of Che, and it was outstandingly fantastic. People loved it. I did Cabaret, then I did so many musicals with him. So, Alyque Padamsee was very powerful in this. My mother was supportive but in the beginning, she didn’t know what was going on. “What’s my son doing?” My father would just turn a deaf ear and go to Rotary meetings, Willingdon Club meetings, Mahabaleshwar Club meetings, or school. He taught as an old boy in school — Cathedral School.
After some time, I think she realised that I was getting serious. Students were coming, and I was becoming somebody. But she was always my strength. My mother… Bichari would be sleeping during my show sometimes if it was really late or during rehearsals, and I would say, “Mommy, how was it?” “Very good,” but she was half asleep. But she was always there.
And one day Debbie Allen came to Bombay as a Cultural Connect Ambassador, and she was talking to my mother, and she said, “Forget all that. Isn’t Shiamak superb? Isn’t Shiamak super?” And my friends were saying how embarrassing it was. That’s a mother’s love. I’m lucky I had a damn good mother and father.
I know. I was very fortunate to get to know her. Very fortunate.
She died three months short of being a hundred, and she was very active. She could walk as fast as me, and she loved to dress up, even at that time. I loved her lipstick, her pearls, her shoes, and her natak. And her comb — her comb. Never a hair out of place, right? And I’m the opposite.
So, you know, when you said that you don’t take your audience for granted, that you’re so particular and everything is new, I feel that what endears you to people is this attitude of no fuss, no shoo-shaa. “I’m here to dance, to perform,” in spite of all that you’ve accomplished, all your accolades. What keeps you so grounded?
Yeah, I think the most important thing in my life is I found a guru called Khorshed Bhavnagri, who wrote a book called The Laws of the Spirit World, and she changed my whole mindset. She made me understand that you can make your money, and you can be famous, and you can do everything you want to do, but what is it that you’re going to give back? And to remain humble all the time. So that book, and being with her for about 25-30 years, made me realise that she was like a spiritual mother to me. She made me understand things like humility, how pride has a fall, how people who do wrong on earth may look like they’re very happy now, but in the end, they get their jhatkas for their own karmas.
So, you know, what was taught to me was spirituality in a way that was very normal. It wasn’t like, “You have to pray a thousand times and do this, do that.” No, it was just about being a good person, being kind, being courageous, doing the right thing, not hurting people, and learning how to say no. And it was a very powerful force for me. And that’s why today, also, when I work, I work from that same mindset of doing my best and trying to understand that I’m 63, and I’ll probably be dead in the next 20 years. So, what am I going to give back? But I was giving back from the age of maybe 25-30 when I started my classes and started my kids in the Victory Arts Foundation with special needs. And one incident really blew my mind.
So, there was this kid who came to class, and he was dancing like this, and his arms were not open. After class, I didn’t force him. I said, “What happened?” He said, “No, I can’t open my hands.” I asked why. He said, “No, no, no.” I said, “Okay, you don’t want to do class? Don’t do it.” “No, no, okay. I’ll tell you, sir, because you are very sweet.” So, he opened his hand. There was a big boil of pus on it, and I said, “Darling, what happened?” I said, “It’s okay. Close your hands and dance, no problem.” “No, no, I got a minus.” I said, “I don’t understand.” “No, mommy was very upset because my friend got a plus, and she put my hand on the stove and said, ‘You didn’t get a plus’.”
So, from that time, I’ve been very aware of people and the way parents push their children so badly. I don’t meet the parents in my classes. I have nothing to do with them. I keep them five billion miles away. “Oh, my child’s a problem child.” Your child is not a problem child in my classes. In my classes, I’ve not had any problems with children. They’re fantastic.
So what I’m trying to say is, all these experiences over so many years made me realise what was going on. Why are people so crazy? And I’ve really understood that it was very difficult for me to get where I am today. People say, “Oh, Shiamak, you’re so young, you’ve done it,” but I luckily started young. I started my career when I was about 21-22. My first musical was when I was 23. That’s the time a dancer’s career is over. A dancer’s career is between, say, 14-15 to 21. A professional dancer, really, 25-30. I started at 22-23. There was nothing here. There was nobody here. There was no one teaching dance.
I started with seven kids, out of which five were my friends and family, and two were students. And the amount of anger and like, “What are you doing? You should be a doctor, lawyer. What nonsense is this? Boys don’t dance.” And girls who danced — I swear, girls who danced 35 years ago were considered bad girls because they came to Shiamak’s classes. Today, it’s like, ‘Oh, you’re in Shiamak’s class,’ and the same parents send their kids to my class. So, the mindset at that time was very different, and it was so tough that I had to go through a lot of struggle. But because of Khorshed Aunty, The Laws of the Spirit World book, and her telling me, “Listen, do what you’re doing. If you’re not hurting anybody, do it.” So, all that made me who I am today.
That’s amazing. It’s how much you believe in what you are and what you can do is, I think…
And there are very bad things that happen also. So when I first did my first movie, Dil Toh Pagal Hai, and I got the National Award for it, it was a big hit. Before that, dancers were not really in shape. My dancers were very fit, and people looked at them, including the heroine or the stars.
Isn’t that amazing?
I have taught so many people fall over India for nearly 35 years now. One day, someone was very angry with me, I think they were just jealous I was getting successful, which I found out later, and they sent the income tax on me. So I had to go to the Income Tax office, and this big dude was there, huge guy! With library books all around him, he’s like the big honcho there. So, I went with my accountant and said, “I hope you know I know nothing about accounts. I don’t know what you’re going to ask me, but I know mindu, nothing.”
So he said, “Okay, Mr. Varavala, please go out, I will just talk to him alone.” So my accountant went out, closed the door, and he said to me, “Shiamak, I’m your summer fun student. Make how much money you want, I don’t care.”
I said, “But why would you scare me with…”
“I wanted to meet you, that’s all.”
So, people in police, in the government, even this government, everywhere I’m taken to do the IPLs, the Jai Shahs, and everybody. And I seem to have, you know, broken that barrier of people saying, “Ooh, dance,” and now it’s respected. And a lot of men are dancing today. And girls are given respectability as dancers today.
So, what I’m trying to say is that times change, people change. And again, that came with The Laws of the Spirit World, the book. And my Khorshed aunty who helped me every day to become a decent person. That’s how the whole thing works actually; it’s side by side.
So you’ve made a big impact in Bollywood. How did Hollywood come about? Anything that you’ve done with Hollywood hasn’t been a small feat. You collaborated with Debbie Allen, choreographed for Jermaine Jackson, did Mission Impossible, did stints with Stevie Wonder, Sting, Lionel Richie.
All of these people, you know, Diana Ross, all of them, were people who… I don’t know, they heard about me. For this example, with Sting. Sting was doing a show, and he said, “I want to have an Indian singer.” And they don’t recognise me as a singer here because I’m not really good in Hindi, so I sing very bad Hindi songs, but they became hits — Mohabbat Karle and Jaane Kisne…They were huge hits at that time. So, Sting said, “I want this boy,” and they were all promoting the other big names, but they got me. And then I sang with him, and he was saying, “Oh, beautiful, you sing in your language.” I said, “Marr gaya,” because what will I sing? What will I sing? So we do Every Breath You Take. He said, “Okay.” So he started, “Every breath you take, every move you make,” and he says, “Okay, now your turn.” So I said… “Every bond you break, every step…” “No, no, no, no, no, sing in your language.” So then, I luckily knew the words of my song, which was a big hit, so I sang in Hindi Kiski Khushboo Hai to the song Every Breath You Take, and it was a big hit and stuff like that. So it was interesting to work with these people.
But the sweetest person was Tom Cruise who was on the set of Mission Impossible, producing it. He was one of the kindest producers I’ve met, the nicest and the humblest. I don’t know; I am lucky to have seen people in a light like this, I’m very grateful.b
That’s really amazing. So Bollywood, Hollywood captured you. But I think you captured the hearts of the Ambani clan, also. What was the spirit?
Once you get in, and you can’t get out.
Nita and Mukesh are very… See, I knew them when Mukesh would play cricket with my brother at the Usha Kiran building, and Nita was a sweet lady who used to come to my Zari Laltaka’s house because Jayadev Modi and her grandmother were there. So I knew them a different way, and I’ve known them for many years because Swati Piramal made me do Isha and Akash’s first birthday party for Dhirubhai — a lovely story. So, the first time Swati was telling me that, you know, I was so scared. “Shiamak, you came, and you were in your shorts, and these girls were in even shorter shorts with, you know, lovely tight outfits, and I thought Dhirubhai will kill me, and Ambani will kill me.” So I looked at Dhirubhai sitting there very sweetly, at my technical rehearsal. So that was the actual story from that. And then cut to 30 years later, I held Isha’s two children in my arms and sang for their first birthday. So I’ve been doing all their sangeets and Baraats, which never end. But I’m not complaining. I love them; they’re very kind to me, and they’re super.
So when you have to do so many different things, you’ve got Bollywood, you’ve got Hollywood, you’ve got Ambani, wedding baarat, whatever. How difficult or different is it to create something different with so many varied mindsets? Do you feel energetic, more creative? How does it work for you?
There is no rule. Like, for example, today you’ll tell me, you know, sing from the phone book. I will sing; I’ll make up music; I’ll sing, whatever you give me in a phone book, I will sing it. Today, you play a song for me, and I’ll choreograph it. I don’t know where it comes from. Of course, I know where it comes from; it comes from up. But I’m just a channel, like a telephone instrument. I just hear the sound of the saxophones, the drums, the percussion, the violins, and then I just know what to do. I have no idea; there is no, you know, great way of research and all that natak that people do. It just comes, and it comes. I used to play the piano by ear; I never learned music. But I play the piano, and people say, “Wow, you dance.” I said, “Don’t write; I actually have not learned anything.”
Danish, why are you laughing? Look at me. You’re making, all my friends are making fun of me, my family members, all really lifetime achievement awards.
Quick rapid-fire
Your favourite celebrity:
Barbara Streisand.
Your most scary moment:
Sometimes when I perform on stage and I am lifted up, which happens quite often, and I’m in a split, you know, my legs aren’t in second position, my legs are like this. And very often, I’ve suddenly felt cold air around this area, and I realise my pants have split. And I’m still there in that position and power. Nobody knows. The lights come off, I say, “What is happening?” So those things happen a lot on stage.
Sometimes I’m scared my voice will give way because when it’s show after show after show after show after show, it’s very important. And sometimes I put a band-aid on my mouth because I don’t stop talking, like today, you see. So to shut up, to keep my voice. So these are fears: of me losing my voice or something when I’m doing a performance.
Your most successful movie or event?
I think Dil Toh Pagal Hai gave me everything. Taal, Dhoom, Bunty Aur Babli, Rab Ne Bana Di Jodi, Mission Impossible, I think these were the ones.
Favourite song:
Evergreen. Yeah, Barbara Streisand.
Your favourite food:
Hmm. I have lots of bhindi, achar, dal chawal, green marcha, kothmir. Anything spicy, fish? Jalapenos, hummus, akuri, eggs. What am I saying? Eggs are my… We are Parsis, darling. Yeah, we are Parsi; now we don’t understand anything else. Brun pav and gutli pav.
Your motto, “I love, have feet will dance.” So for some of us who think and believe we have two left feet, it gives us a little bit of confidence.
It does, because listen, my classes are not only about the dancers coming. In fact, I was doing a census that day with my COO, and we found out that 85% of the people who came to my classes were non-dancers. That only — that much was the real potential of dancers. Because from the age of 4 to 84, there was everybody there. So it’s not what people think my classes are.
So you think our audience can come and join you? Great, people, we can go.
But first, you have to come for Selkuth. Selkuth is my dance show; I’m promoting it here. And you can’t be kanjoos. It’s at NMACC, in the big grand theatre, at 8 o’clock on Saturday, October 26th.
What drives you now? You’ve clearly been there, done that, done everything you possibly could in your area, created a new genre for the country. What keeps you going and motivates you for tomorrow?
Spending my time that I have when I’m not working at the club. I love going to the club at the ladies’ garden and just doing nothing with my friends.
You have to give yourself time off when you work hard. And that’s the secret because if you do not give your mind and body rest, your work is zero. That’s one. And two, I think the paakh prayer, and I don’t want to sound like a religious person. But I do believe in conversations with God or conversations with my mother, who I drive up the wall. But I do believe in something more than just what I do. And that makes me energised. That makes me want to do more things. And as I said again, every show for me is very important. So, I’m never satisfied, that’s the problem. Now when I see my work in the earlier days, I say, “Oh no, what was that rubbish?” So, for me, I’m never satisfied.
Tell us about your entry into Bollywood.
So, there was this girl who came to my classes who I didn’t know called Gauri Khan, and she was Shah Rukh Khan’s wife. I had no idea, but Shah Rukh Khan would come every day and stand outside my doors of the studio for, I think, four or five years, every single day, if not every other day, and he was famous. He was already into Baazigar and all these movies, so he was already huge. After Dilwale, he was huge. Every day outside my studio waiting for Gauri. So, wow, you know Shah Rukh? Like that. She said, “He wants to meet you.” So I said, “Okay, why would he want to meet me?”
So he said, “You know, there’s a movie called Dil Toh Pagal Hai coming out.” I said, “No, no, no, no, I’ve already said no for Dilwale with Yash Chopra because I don’t think my style will work. My style is too Western. Your movie will flop. It’s too Western. My style will never work.” “No, but I’m telling you, Yash Chopra wants this. There’s Madhuri, there’s Karishma, and I’m there.” “Professor, I don’t know these dancers; I only use my dancers.” “No, we will give you your own dancers. We will do anything you want.” I said, “But I like controlling my costumes and music and this and that.” So then he drove me nuts over dinner, nuts, nuts. He literally drove me in. I swear I was like saying, “Oh God, when’s he gonna shut up?” And then I don’t know what happened; I just said yes. And then I started my first song, and I said, “Hmm, not bad. Doesn’t look that bad.” Okay. Next song, Chak Dhoom Dhoom, next song Dance of Envy, next song Are Re Are. So then it became, then I was feeling, “Okay, the style is not that bad for the cinema, and they will appreciate it.” And really, because of Shah Rukh, honestly, pushing me and Yash uncle, pushing me, pushing me, did I become the name I am. Otherwise, I would have been a South Bombay boy doing shows and having my dance classes. It was actually them, and Shah Rukh more so because he really irritated me that day. And I keep on telling him till today that he really bugged me. He says, “Yeah, because you’re saying no.”
Your favourite male and female Bollywood dancers:
See, I have to be smart here because Shahid, Varun, Alia, Priyanka, Aishwarya were all my students. Priyanka and Aishwarya came for Miss World before they went on stage after Miss India, so I trained them. Varun was my student. Ishaan Khattar was my student. Shahid was my student. So if I say Hrithik, I’ll be in trouble, but Hrithik is fantastic. Hrithik, Shahid, I think in the girls, I would say Madhuri is… there is… there’s nobody like her. You know, Madhubala, no, I’m sorry, Madhuri is as good. There is no one. She may… now it’s different. But what she did with one of the maestros of choreography called Saroj Khan. Saroj Khan was another genius of expressions, and Madhuri for me was… Nobody now. Yeah, they’re all good. I mean, my Katrina is good and Alia dances well, Priyanka dances well. Who else? Give me some names. Aishwarya dances well, Deepika dances well, but they’re not Madhuri. Madhuri had something… you know, I did a jugal bandi with them called the Dance of Envy in Dil Toh Pagal Hai. Did you see that? I don’t know. So Madhuri would do a movement like this, and Karishma would do a movement like this. You know, with high-octane fuel, she would be strong, but Madhuri would just do it with that class and experience of years. So you know what I mean? There’s a difference. Both were beautiful; both complement each other. Karishma is a fab dancer, but there’s a certain grace that Indian dance gives us. That is why my new style of working the last 30 years, it’s called Shamak style, has a lot of Indo-contemporary movements. That’s why when you saw Selkuth, there was a lot of Indian movement in it.
Any comment on your AI and your dance, singing, and all?
See, I’ll tell you what it is. Earthlings, human beings, unfortunately, are very stupid people. They’re very immature and dumb. When intelligent technology is given to us, it is misused. So today, if AI comes and replaces genuine artists, or things, or people will have no jobs because it’s just done on ChatGPT, you’re losing out the human element, which I think is dangerous. Very, very dangerous. In fact, I’m using a lot of AI and VFX for Ramayana, with Prime Focus being one of the biggest movies ever. No, either it’ll flop, or it’ll become a hit; we don’t know. But the technology is what they’re doing in Marvel movies. All your Iron Man and Spider-Man, and the technology of that is being used today. So there is a goodness in AI; there’s a goodness in new discoveries of science. But then again, immature people on Earth misuse it. So like if Instagram is good and social media is good, it’s gone so overboard than what it could have been used for. Now people are seeing social media and getting insecure, “Oh my God, so many followers, I feel bad. Oh God, look at what they’re having.” It’s just a sad state of affairs. I love social media; I’m not saying that, but I’m saying it’s when human beings do not know the balance of what it is. That’s the danger of AI.
You’ve been now almost in four decades; you’ve been teaching dance, doing dance. Can you take us through the various changes in style that have taken place from when you started to today in the way people choreograph and the way they dance?
Yeah, so I started in the 90s; the 80s and 70s were more cabaret and rock and roll and stuff like that. The 90s became more Shiamak kind of work, which is more jazzy and more contemporary. The 80s, 90s, and 2000s became more hip-hop. Hip-hop and that kind of dance, which you see all over, so till today, if you see from Shammi Kapoor’s rock and roll, again taken from the West or cabaret Helen, moving on to semi-classical Dola re Dola re, etc., coming down to today’s Dhoom machale, which is hip-hop and again jazz contemporary. Dil Toh Pagal Hai, coming down to today again, very hip-hop. Like Tauba Tauba is very hip-hop. What I discovered, the songs of today don’t last. They don’t have a legacy. Like when you see Dola re or Maar Dala or you see songs of the past, I think they have a legacy. I’m not finding the legacy at the moment. Maybe I’m wrong. I don’t know; I’m just thinking, nothing is really striking me. It’s not because I’m jealous or insecure. I’m a choreographer. I want a song to stand the test of time. It may not have gone to number one; it may not have been the biggest hit, but till today, people are respecting it, and they’re hearing it. The next famous songs today are famous, but in those days, they were a flop.
Yes, so you know you’ve been in dance and choreography. What about doing a proper role in a Bollywood film?
Well, my friends are gonna laugh now. I was offered a role in Shekhar Kapur’s movie with Aamir Khan, and that is where they’re dying of laughter. Vishal Bhardwaj wanted me to do a role in his film, but of course, because my Hindi’s foul, I said no, and I don’t look like a Bollywood star. I don’t have that. I don’t have that.
It’s not a question, Shiamak; it’s the answer to the most important question, which a gentleman there asked. And that is, what is it that drives you now? You’ve been there; you’ve done it; you’ve seen it all. What drives you? Knowing you as well as I do, I think everyone here needs to know. And I feel, correct me if I’m wrong, what drives you is to take yourself and all those who are with you, never under you, because there’s no one under you; you take all of those who are with you to higher and higher levels of spiritual perfection. So, it’s a physical manifestation of dance, movement, hands, feet, music, voice, vocalisation, instruments, but the object is always to move spiritually higher and higher, and therefore that will never end. You will keep going higher.
That is so sweet. But you know, I can’t say that because I don’t really focus on it. I just do my work, and it happens naturally, and that is something that is so true. But I do really believe that for me to move people through my music or make people happy is important, in spite of a lot of attacks on me. There is a lot of jealousy, a lot of attacks, a lot of false rubbish around. But when people still focus on one thing and go ahead without hurting anyone, he sees it through. He is there for you, I believe.
Who was your dance idol?
I didn’t have one; I think Helen was who I loved, not idolise, but I loved her. I also saw, because of Daddy and Mummy, a lot of Fred Astaire and Gene Kelly. Then I went to New York; I loved Martha Graham; she’s again a contemporary dancer. I also had my great grandfather and his wife; he’s my grandmother’s brother, Homi Wadia, who had Wadia Movietone in Chembur, and his wife had movies, and she was Fearless Nadia, Hunter Wali. So I had, on this hand, on the weekends in Chembur, Saraswati Chandra, Teen Bahuraniyaan there, and here I would have Frank Sinatra, so I got the best of both. So those were my idols.
What is your discipline, your restrictions, or it’s just…
You just have to join… so fit. Good plug, baby. No, I’m actually someone who loves food; as she knows, I’m not the greatest example of fitness, but yes, for my age, I’m okay. But I love my classes, and so because while I’m teaching, I’m moving, I’m choreographing, I’m doing things, so yes, but I’m a foodie, so I love food, and I love the wrong food. I like vada pav. I like all the wrong food, but then I exercise. But I’ll tell you one thing: you can exercise how much you want; you can eat the right foods, and you will still fall sick if your mind is negative. That’s all I want to leave you with: work on the mind.