“As choreographer, I take dancers into dark, sad places,” says Ashley Lobo. “It is necessary as they are leading two lives. On stage, they are always smiling like clowns even though they may be leading sad lives. I am happy if they are sad because that gives me the material with which we can create outstanding performance on stage,” he adds while taking a break from a rehearsal of annual production That’s Dancing organised by The Danceworx.
Isn’t the ace choreographer being greedy? “I am very greedy. If you cannot feel the canvas what is the point of painting? Then you can paint buildings; it makes no difference,” he exclaims.
Ashley also uses choreography as a means to heal his dancers. “Ten years ago, a Delhi-based danseuse, who was recently cast as a heroine in a film, was devastated as her boyfriend died in a car accident. She was only 19 then. I gave her a chance to do a solo titled ‘Rozana’ for a programme in Holland, where I used choreography to heal her. I made the piece to convince her that dying and living are the same thing; you will always be where you are. The script was perfect for her. It was the journey of a human being who is right at the edge, how she crosses that edge and comes out again.”
East meets West
For the first time in his long and illustrious career, Ashley is now all set to choreograph a ballet for Die Theater Chemnitz, a contemporary dance company in Germany.
Ashley says: “It is the biggest challenge so far. Never before has an Indian has been invited by an international ballet company. As they have being performing ballet for 20 years, their technique is very different from ours.”
To bridge the gap between two contrasting dance styles, Ashley will train them in his trademark yoga-based Prana Paint technique. “Dancers benefit immensely from this art of breathing. As a dancer you are always painting; painting with breath. For a dancer it is better to work on instinct. The brain is switched off and you are reacting like an animal. For Germans and dancers of other nations, it would be a great learning process. They have incredible physical abilities. Now people will get to see delicacy in their dance,” says Ashley.
Directorial venture
Ashley is also foraying into films with a semi-autobiographical work. “I have readied the script and will be releasing the film next year. I like telling stories; this would not be usual dance film. It would be about human beings and their interactions. I am intrigued with mentorship; the relationship between a parent and child, teacher and student. I have been in this business for 35 years; whether I like it or not a lot of stuff about my life will invariably come out in the film,” he says.
He is mulling casting Tiger Shroff or Hrithik Roshan in the lead. “I am a story-driven director. It is possible that Hrithik would be playing me. It could also be Mithun-da. For me telling a story is important — through dialogue, dance and interaction.”
In Jab Harry met Sejal , he has choreographed a song “Beach Beach Mein”, which is now making waves. “I have known Shah Rukh Khan since his Fauji days on Doordarshan. The most endearing thing about him is his simplicity. When he comes on the sets, he surprises you with his work ethic. SRK doesn’t mind doing rehearsals till he gets the perfect act. You have to tell him to stop.”
Expression of joy
Ashley says songs and dance have been part of our culture since time immemorial. “Bollywood will never lose song and dance as it is seen as a strong medium of art and entertainment. For the die hard fans, films are fantasy. They get a sense of relief, it helps them to get away from the drudgery of their lives,” he says.
For Ashley dance is an expression of joy. “Whether you do ‘Chinta Ta Ta Chita Chita’ or a classical item, it should connect with masses. A song like ‘Mauja Mauja’ may not have a particular dance style but it appeals to everyone because Indians are an emotional people. Also I feel there is a certain child hidden within ourselves which Bollywood helps to come out.”
Work with veteran actors must be tough as they may have a limited range as dancers. “Not at all. They move little, but have so much experience that they are able to pull off the steps very well. Most of the time, it is not about dance but about the performer,” he says as a parting shot.
