Latest news with #JainilMehta
New Indian Express
01-05-2025
- Entertainment
- New Indian Express
Dancing Against Odds
When art often mirrors society in its purest form, change towards a better world is not a dream so far away. For Jainil Mehta, a renowned dancer and choreographer, dance as a form is a powerful tool to reflect on society and explore themes like community and identity through simple yet powerful narratives. Known for his revolutionary #meninskirts [dance] movement showing him dancing in the streets of New York wearing a skirt (which took social media by storm), Mehta is ready to set the stage on fire with his new dance production, Sam-Aaj. Sam-Aaj is a culmination of two words that correlate to the characters Samir (played by Mehta) and Miraaj (played by Shubham Mahawar). 'Sam-Aaj is broken up into two words 'sam' as in 'balance' and 'aaj' meaning 'today', which talks about how we change over time as individuals; we grow as individuals, we grow in relationships and sometimes we grow out of relationships. This change is inevitable,' he reveals. Blending poetry, music, movements and a story, Sam-Aaj is more than a mere dance performance but a dance narrative. 'Art is boundless, it includes all points of view, from religious, political, social, and psychological perspectives. I have interacted with so many people: my family, my friends and from their experiences, I have built this beautiful story.' From his early childhood days when he used to dance, wrapping his mother's saree, to now, Mehta has come a long way. 'When I was a child, I used to steal mom's clothes, lock myself up in the room and dance. That came alive when I was around 20 [when the #meninskirts video went viral in 2022]. I always loved the flair and grace of skirts and the fabric so I wanted to use it in my dance. Suddenly, it blew up,' Mehta shares, recounting his #meninskirts movement. According to Mehta, the movement helped him embrace his imperfections and boldness, eventually leading to the creation of Sam-Aaj. With the performance, Mehta hopes to deliver a warm feeling to the audience. 'I wanted to leave people with a cosy feeling and I want to talk about finding balance in our everyday lives,' he confides. He also hopes to convey a simple message on love and acceptance. The touring journey so far has been anything but smooth with disruption from conservative forces. 'We had a protest from RSS organisations in Jaipur, saying that it [the theme of the production] is not a part of the Indian value system and the sanskriti of India, so the theatre had to cancel,' he reveals, adding, 'But we did perform at the Jaipur Jantar Hostel. The response has been absolutely positive.' Despite these challenges, he hopes Bengaluru will embrace the production. 'Bengaluru is an experimental hub for art, I'm hoping that the audience welcomes us with open arms,' he concludes. (Sam-Aaj will be held on May 3 at Medai-The Stage, Koramangala, at 7.30pm. Tickets, priced at ₹699,
Indian Express
28-04-2025
- Entertainment
- Indian Express
‘Unsuitable for public staging': Jaipur's govt-run Jawahar Kala Kendra cancels queer play after complaint
Jaipur's Jawahar Kala Kendra (JKK) cultural centre has cancelled a queer play following objections, including from the RSS-affiliated Sanskar Bharti. The play 'Samaaj', which depicts the story of two men in a relationship, was scheduled for the evening of April 26 at JKK's central auditorium. However, in a letter to the play's director Jainil Mehta, JKK's Additional Director General (Administration), Alka Meena, said that 'short clips and other information related to your play were seen on social media handles by various organisations/individuals, after which a complaint letter has been submitted to JKK, expressing objection to the staging of the play and terming it against the dignity of the prestigious institution of art and culture.' 'The complaints received were evaluated by JKK's Programme Coordinating Committee. The committee found the content of your programme to be unsuitable for public staging in the JKK premises,' says the letter by Meena. On booking app Bookmyshow, the play is described as 'a gripping journey of self-discovery, love, and the fragile line between acceptance and rejection.' In its letter dated April 24 to JKK, Sandeep Lele, associated with Sanskar Bharti, termed the staging of the play 'a matter of serious objection and concern,' and that 'it is not only against Indian culture and social values' but 'also seems to be an attempt to mislead the young generation.' Lele listed several reasons for the objections — 'that it encourages a rebellious attitude towards Indian traditional beliefs and social system; at many places in the dialogues of the play, vulgar and double meaning language has been used, which is against the standards of public performance; the story that promotes homosexual relationships has been made the basic premise, which does not match the general sensibilities of the people.' Other reasons cited by Sanskar Bharti include that 'the play rejects the family value system and promotes highly individualistic and disorderly ideas in the name of freedom; in the name of experimentalism, indecent and infected language and expression have been employed; and that, in the name of love, the entire presentation gives a message to the young generation of indiscipline and turning away from social norms.' The play was staged elsewhere in Jaipur the same day.
Indian Express
28-04-2025
- Entertainment
- Indian Express
Jaipur's JKK cancels same-sex play following objection by RSS affiliate
Jaipur's Jawahar Kala Kendra (JKK) cultural centre has cancelled a queer play following an objection by Sanskar Bharti, affiliated with the Rashtriya Swayamsevak Sangh (RSS). The play 'Samaaj', which depicts the story of two men in a relationship, was scheduled for April 26 evening at JKK's central auditorium. However, in a letter to the play's director Jainil Mehta, JKK's Additional Director General (Administration), Alka Meena, said that 'short clips and other information related to your play were seen on social media handles by various organisations/individuals, after which a complaint letter has been submitted to JKK, expressing objection to the staging of the play and terming it against the dignity of the prestigious institution of art and culture.' 'The complaints received were evaluated by JKK's Programme Coordinating Committee. The committee found the content of your programme to be unsuitable for public staging in the JKK premises,' says the letter by Meena, which cited certain rules to cancel the programme. On a ticket booking app, the play is described as: 'In an idealistic society that is open minded, two men must confront their deepest insecurities and the hidden truths of their relationship. As their love grows, so do the tensions between who they are and who they are becoming. Can they overcome their pasts and find balance, or will the weight of their own doubts tear them apart? 'Samaaj' is a gripping journey of self-discovery, love, and the fragile line between acceptance and rejection.' In its letter dated April 24 to JKK, Sandeep Lele, associated with Sanskar Bharti, had termed the staging of the play 'a matter of serious objection and concern,' and that 'it is not only against Indian culture and social values' but 'also seems to be an attempt to mislead the young generation.' Lele listed several reasons for the objections: 'That it encourages a rebellious attitude towards Indian traditional beliefs and social system; at many places in the dialogues of the play, vulgar and double meaning language has been used, which is against the standards of public performance; the story that promotes homosexual relationships has been made the basic premise, which does not match the general sensibilities of the people.' Other reasons cited by Sanskar Bharti include that 'the play rejects the family value system and promotes highly individualistic and disorderly ideas in the name of freedom; in the name of experimentalism, indecent and infected language and expression have been employed; and that, in the name of love, the entire presentation gives a message to the young generation of indiscipline and turning away from social norms.' The play was then staged elsewhere in Jaipur the same day.
Indian Express
27-04-2025
- Entertainment
- Indian Express
Love is revolution
Somewhere between breath and silence, between a lingering touch and a retreating glance, between two men standing in the light and each other's shadow, something extraordinary unfolded. It wasn't just a performance. It was a pulse, a whisper, a cry, a prayer. Sam Aaj, the dance narrative by Jainil Mehta, staged Monday night at the Little Theatre Group Auditorium in Delhi, didn't simply tell a story. It opened a vein — raw and tender — and let emotion spill across the stage like monsoon rain on burning earth. There they stood: Samir and Miraaj. Two men lip-syncing poetry and music that cascaded from the speakers like a river just over its banks — the treble sometimes too sharp, cutting the clarity of words, but never the feeling. That was always intact. Breathtaking in its vulnerability, the performance throbbed with sensuality, tension, nervousness, joy, longing — and love. A love so unflinching and honest, it eclipsed the specifics of gender. What mattered was not that it was two men. What mattered was that it was love, and love in its truest form is always a revolution. There was nothing exaggerated. Nothing timid. Everything — the movement, the music, the gaze, the distance, the closeness — felt precise and correct. Every step carried weight. Every pause held meaning. There were moments when their hands barely met, but you could feel the electricity. In one gesture, there was more storytelling than entire scripts manage. This was dance that didn't need dialogue to be understood. But when the words came — in Hindi, in Urdu, in English — they embroidered the air with longing and insight. 'Koi cheez jab khaali ho toh itni bhaari kaise ho sakti hai?' (How can something so empty feel so heavy?) The poetry, written by Amrita Saluja and Devarshi Shah, acted like a low flame burning under the entire performance. It didn't overpower; it illuminated. These weren't just lines — they were confessions. Hiccups of the heart. Soft bruises of memory. 'Par in hichkiyon ne pareshan kar rakha hai. Kya tum kuch der, sirf kuch der ke liye mujhe bhool sakte ho? Main khud ko yaad karna chahta hoon.' (These hiccups are bothering me. Can you forget me just for a while? I want to remember myself.) What do we become in love, and what parts of ourselves do we lose? These questions floated just beneath the surface, like shadows beneath rippling water. And then came the music — composed and sung by Shivansh Jindal and Aasa Singh. Songs that didn't just accompany the dance but gave it breath. The score was woven with nostalgia and ache. 'Kya hum waise hi hain, jaise pehle the? Ya rishta hai ya sirf yeh yaadon ka khel re…?' (Are we still who we were? Or is this just a game of memories now?) The lyrics were like letters never sent — filled with tenderness, fear, resignation. They echoed in the auditorium, and in us. The lighting, designed by Vijay Kumar Asokan, painted their silhouettes in soft amber, bruised purples, moody blues — as if the stage itself were bleeding emotion. And it must be said — this production is a culmination of many artists' labor. Jainil Mehta choreographed and led, yes, but the soul of Sam Aaj was communal. Shubham Mahawar, as Miraaj, brought a counterpoint of gentleness and depth. His performance was electric, magnificent. If I thought Jainil was incredible, this performer just took it to another level still. Together they were ethereal. On stage, it was a performance of two who excelled at what they did, and together became greater than the sum of their parts. Their chemistry — unforced and sincere — shaped the narrative. The voiceovers by Nakuul Mehta and Aaryama Salim, paired with live-synced dance, added another layer of theatrical intimacy. But beyond the performance, Sam Aaj is a story long in the making. Jainil Mehta first caught the eye dancing on the concrete of Jersey City during the lockdown. There he was — barefoot on asphalt, draped in the colors and drama of Gujarat and Rajasthan, making the dull gray of New York shimmer with movement. Even then, he wasn't just dancing. He was reclaiming space. Resisting silence. Bringing rhythm to stillness. That same spirit threads through Sam Aaj. It is at once a personal journey and a universal one. It's about queer love, yes — but more than that, it's about what it means to be seen, to be held, to be understood in a world that often asks us to perform, but rarely allows us to just be. After the show, an audience member asked about the co-performer's name. And while Jainil answered, there was a murmur in the crowd — some wondering if enough credit was given. I hope they were wrong. Because what I saw on stage was collaboration. I saw generosity. I saw one artist lifting another. I saw a duo, not a solo. And I hope that Jainil Mehta — who clearly has the talent and the vision to go far — continues to share the spotlight, continues to mentor, continues to remember that the art is brighter when shared. Because this — this performance — was not a solo act. It was a symphony of people. Behind the scenes: the poetry, the lighting, the costumes by Rasa by Jainil, the singers, the musicians, the stills captured by Raashi Ganeriwal and Kush Patel, the support from Another Light Counselling, from family, from friends. This was a village making art. This was love in motion. The show will travel — from Mumbai to Vadodara, Ahmedabad to Delhi, Jaipur to Bengaluru. And I hope each city walks away feeling what I felt: that Sam Aaj is not just about two people. It's about all of us. About now. About society. About how we balance the 'Sam' — the equilibrium — in today's fractured world. If I could, I'd bottle the performance and mail it to everyone I love. I'd send it to my mother, my friends, the ones who ache in silence, the ones who've forgotten what it feels like to be held — truly held — without fear. Because this performance reminded me that love, when performed without apology, can be the most radical act. There was one line that echoed long after the stage went dark: 'Dekho… main jaanta hoon ke jo bhi hai humare beech, woh pyaar hai. Par main do logon ke hisse ka pyaar akele kaise karun? Aur kyun karun?' (Look… I know what we have is love. But how can I love for two people alone? And why should I?) It's a question asked in heartbreak, but the performance answered with hope: You shouldn't have to. Love, when it is right, is shared. It flows. It gives. It meets you halfway. And sometimes, it meets you on stage, with light in your eyes and music in your bones. So here's my review: Go watch Sam Aaj. Not just for the dance. Not just for the poetry. But for the reminder that we are all, in the end, trying to love and be loved. And when we witness it, unfiltered and true, we walk away changed. This wasn't just a performance. It was a gift.
