JAIVANT PATEL ON HIS NEW DANCE SHOW YAATRA
by ASJAD NAZIR
CELEBRATORY festivals such as Diwali and Navratri combined with his grandfather watching Bollywood classics like Pakeezah first connected Jaivant Patel to dance at a young age.
This led to a career in dance and productions like his latest offering Yaatra, which embarks on a UK tour this month. The captivating combination of kathak and British contemporary dance is rooted in Jaivant’s experience as a British Indian homosexual. He has teamed up with various artistic talents for a performance that offers a new perspective on South Asian LGBTQ+ narratives, faith and spirituality.
Eastern Eye caught up with Wolverhampton based Jaivant Patel to talk about dance and his path-breaking production Yaatra.
What led you towards your production Yaatra?
South Asian LGBTQ+ voices are rarely exposed and often marginalised, and I wanted Yaatra to be celebrated and contribute towards a positive change. Whenever I look at existing and current work in UK dance and most international scenes, I rarely see myself as a gay Indian man being represented. I don’t see pieces reflective of the narratives, themes and issues important to me. Yaatra is about empowering representation and encouraging others to do similar work if they have a desire to do so, or just to gain a new and different experience.
Tell us more about the Yaatra?
Yaatra started by me asking, ‘what does dance look like through the disruptive perspective of the South Asian queer lens?’ Essentially, it is a captivating evening of solo kathak and contemporary dance with a new perspective on South Asian LGBTQ+ narratives, faith and spirituality. As a British Indian, Yaatra celebrates two cultures, paying tribute to traditions and heritage of one with often untold stories of another. The piece is also heavily influenced by my grandma and features her voice speaking in Gujarati (my mother tongue), singing hymns and reciting Sanskrit scriptures. Luckily, my grandma is still with us and we get on very well.
What are the messages you want to convey through this piece?
I want to convey the message of acceptance and the desire for the subject matter to open up questions of the role of LGBTQ+ narratives in the South Asian community. These narratives, for example, have existed for centuries in the mythology of the sub-continent but were wiped out in the conditioning of the colonial mind of which the South Asian diaspora belong too. The legacy of colonisation for example in laws such as Section 377 existed up until last year prior to abolishment. I felt a responsibility as a member of the wider LGBTQ+ community to bring these narratives to the forefront as it is incredibly important for the South Asian community to own these stories and wider dialogues it brings. Another message I believe to be important in the production is the message that a man who identifies as being LGBTQ+ can also have faith and spirituality.
Who are you hoping connects with Yaatra?
I hope all are able to connect on a universal level with the content of Yaatra, in particular, the South Asian LGBTQ+ community. I am also hopeful those who are proactive in any faith are able to connect with themes such as spirituality.
How does this compare to other dance pieces you have worked on?
Yaatra is my first full-length production and is influenced by my own experiences. Yaatra has drawn on my personal history and weaved a narrative reflective of my identity, but also is universal in presentation to be accessible to all, regardless of experience or knowledge of dance.
What are your future hopes for classical Indian dance?
I trained in contemporary dance and started incorporating kathak into my artistic practice around four years ago. So I would not refer to myself as a pure classical dancer. I hope Indian classical dance continues to make shifts in opening up its aesthetics and vocabulary to retain purity, yet be contemporary in context and accessibility. I also hope there are developments in the existing structures of the form to create innovations relevant to contemporary contexts.
What inspires you?
Currently, I am really inspired by discovering more about the aesthetics and principles of kathak and other forms in the Indian classical dance family. I have a desire to work towards creating my own idiosyncratic vocabulary reflective of my identity as a British Indian and the many global forms I have experienced in my dance journey. I am also inspired by international dance makers and choreographers such a Hari Krishnan in Canada, who continues to develop ground-breaking work around South Asian LGBTQ+ narratives in pieces such as Siva Kissed Visnu.
Who is your own dance hero?
I love the individual style and vision Bob Fosse was able to bring to dance and his ability to change the way we see modern dance choreography today. Another hero is Jerome Robbins, who is famous for musicals such as West Side Story.
Why should we see Yaatra?
You should come and see Yaatra, as it’s relevant to current socio-political themes such as LGBTQ+ rights, race and identity. It is also the first touring production of its kind in the UK to explore South Asian LGBTQ+ narratives in dance. Yaatra questions what it means for a homosexual Indian man with faith to navigate the complexities of intersectionality when you belong to more than one cultural heritage. It has something in it for everyone and they will be able to connect with the multiple layers.
Yaatra will be staged at Tara Theatre in London on October 17, Midlands Arts Centre in Birmingham on November 13, Arena Theatre in Wolverhampton on November 23 and Déda in Derby on November 28.
A scene from The Thursday Murder Club, where four retirees turn amateur detectives in a quiet British village shaken by a real murderInstagram/NetflixUK
Stills from Andaz Apna Apna
Stills from Andaz Apna Apna
Vinay Kumar Sinha
Rahul’s casual dismissal of that controversy has added fuel to the fire
Rahul Bhatt sparks controversy over 'insensitive' remarks about sisters Alia and Pooja Bhatt
Rahul Bhatt, fitness trainer and son of veteran filmmaker Mahesh Bhatt, has found himself at the centre of a social media storm following controversial remarks about his half-sister, Alia Bhatt. In a recent interview, Rahul drew comparisons between Alia and their older sister Pooja Bhatt, calling the latter more talented, attractive, and principled.
The comments, which many have labelled inappropriate and insensitive, have sparked widespread criticism online. During the interview, Rahul stated, “In my opinion, she (Alia) is not even half of what my real sister Pooja is. Not in talent, not in looks, not in terms of being sexy. In front of my sister, she is ‘paani kam chai’ (watery tea). Amongst the siblings, the most talented and the most moralistic is Pooja.”
Social media users reacted strongly, questioning why Rahul would compare his sisters in such personal terms. Several users were particularly disturbed by his reference to their appearance and sex appeal, pointing out that such comparisons within a family cross boundaries of propriety. One comment read, “This is disturbing. Why talk about your sisters like that? It’s not just weird, it’s wrong.” Another post said, “There’s nothing respectful about comparing your siblings’ attractiveness in public.”
The backlash also reignited conversation around a decades-old controversy involving Mahesh Bhatt and Pooja Bhatt. Rahul was asked about the infamous 1990s magazine cover where the father-daughter duo shared a kiss, which had stirred public outrage at the time. Dismissing the criticism, Rahul said, “It doesn’t make any difference. It’s like water off a duck’s back. We know the truth, and we’ve seen everything since childhood.”
Rahul’s casual dismissal of that controversy has added fuel to the fire, with critics saying it reflects a broader issue of the Bhatt family being insensitive to public perception and boundaries. Many users questioned the need for bringing up old incidents in a bid to defend new and equally questionable statements.
As of now, neither Alia Bhatt nor Pooja Bhatt has issued any public response to Rahul’s remarks. Both actors, known for their significant contributions to Indian cinema, have typically kept family matters private despite living in the public eye.
This episode has also sparked debate over the role of public figures in maintaining respect when discussing family matters in the media. Observers say such comments, especially when involving women’s appearance and personal qualities, reinforce problematic attitudes and fuel unnecessary controversies.
While Rahul Bhatt is not as prominent in the entertainment industry as his father or sisters, his comments have made headlines and placed the Bhatt family in the spotlight for reasons beyond their creative work. For many, this serves as a reminder that public platforms come with responsibility, and that family ties should not be trivialised or dissected for attention or comparison.
The backlash is unlikely to subside soon, especially as fans and followers of Alia and Pooja continue to express disappointment over the way the situation has unfolded. Whether or not Rahul chooses to clarify or apologise remains to be seen.