(Name changed to protect identity)
Vinayak is a tall man. At six feet, he is one of the tallest men to ever dance in Tamil films. A fact which gives him pleasure. “It’s not always good though,” he says as we settle down for a chat. “I was recently called in for a song shoot with this short actor. He took one look at me, and sent me away.”
It’s 12 pm and we’re at a popular cafe in Gopalapuram. Vinayak looks around animatedly. “I heard that this is where Gautham Menon writes his films. This is so exciting!” he exclaims for about the fifth time.
Gautham Menon, we later learn, is an ‘absolute favourite’ of his.
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Like most dancers, Vinayak grew up worshipping Michael Jackson. The fluidity of his body fascinated him. He remembers trying to copy his moves as a young boy. In vain. “I was a stick-thin child, too tall for my age. I couldn’t dance even if my life depended on it. I had two left feet and left hands. But I had something natural dancers didn’t have. Motivation.”
Five different dance classes and two years later, Vinayak was finally chosen to be a part of a stage musical. “They put me in the last row. As if that wasn’t embarrassing enough, they made me a tree. So I had to stand still and wave my hands around.”
Fifteen years later, he found himself in a similar situation. It was a Vijay film. And all he had to do was raise his arms and shake it. “But, well, it’s Vijay anna. He doesn’t need backup dancers to make him look good. He’s better than all of us put together. So, I didn’t mind much.” By then, Vinayak had improved his dancing skills enough to make it to the finals of several reality shows.
[quote align=’left’]”The stars would treat me badly when I help them. Funny thing is, I know exactly how they feel. I was a bad dancer once. But then, they’re in no mood to talk about all that.”[/quote]
He considers it a personal failure that he couldn’t make it to Jodi No 1 or Maanada Mayilaada. “Strange thing is, guys my age, like Sathish and Sheriff, are way up the ladder. I’m still down here, dancing behind stars. Reality shows make all the difference now. Guys who are my juniors get paid double if they have television experience. It’s not about just skills anymore.”
On average, Vinayak finds himself on as many as ten film sets a month. And that’s during a lean season. “I’m used to shuttling between sets. For instance, let’s say I’m dancing on the sets of Romeo Juliet. The week before, I would be on the Valiyavan sets. In the three days in-between, I might be able to make a quick trip home and surprise my girlfriend.”
2012 was especially memorable, for he was part of several ‘small budget’ films. Never mind the fact that they still haven’t seen the light of the day. “I don’t want to say anything about it,” Vinayak shrugs, “It’s money after all.”
But mostly, Vinayak doesn’t get the major gigs. Months can pass without a good project in sight.
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The awkward part about his job, Vinayak says, is when the choreographer has him help the stars perfect their moves. Sometimes, when the star isn’t an adept dancer, he faces a lot of negativity. “They’re almost always aggressive and treat me quite badly. Funny thing is, I know exactly how they feel. I was a bad dancer once. But then, they’re in no mood to share their feelings and talk about all that.”
Rehearsals for a five-minute song can go on for days. Sometimes, even weeks. “If it’s one song then it’s fine. But backup dancers like me almost always have other projects as well. So, it’s usually a pain. Literally.” At a time when complicated dance moves have become de rigueur, Vinayak has been the recipient of many injuries. “I have had everything from Achilles tendon to muscle spasms. Extensive training over a short period of time can do that to you. I don’t want to crib too much because a friend of mine is a stunt guy. Every other week, he looks different. A black eye this time. A cast the next.”
Acting is not something he’s interested in at present. Though that doesn’t deter producers. “On every set I’m in, I get offered a role in the next big film by some unknown producer. The only one that I was interested in seemed really shady. The guy asked me to put in ten lakhs of my own money into it. Inga 10000ke vazhi illa,” he laughs.
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For now, he’s happy to work with his guru Gautham Menon. “People told me that I need to look a certain way to be a part of his films. Innum konjam class ah irukkanumnu sonnanga. So here I am. Shifted from Jockey to Louis Philippe. The fake ones,” he adds with a grin.
His parents don’t get why he’s happy dancing at the ‘back of the line’. “See, for them, I’m special. I’m their son. They think dancing behind someone else is shameful. But it’s not like that for me. I’m not ready to step into the spotlight yet. Till I get to that mindset, I’m comfortable in the back row.”
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Confessions Of A Backup Dancer is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the industry. Silverscreen.in and its writers do not have an advertising relationship with any of the personalities featured on the site.