User:Sayan.paul.danceking

Introduction
Sayan Paul is one of the most renowned dancers of Siliguri, Darjeeling District, West Bengal, INDIA. Born to a Bengali family, mothers name Juina Paul(Bengali content writer) and father Satyaa Paul(Engineer). He is known for multiple appearances in public dance regions and has a special appearance comparable to the Eureka Forbes Aquaguard's marketing strategy. It is hilarious but is very popular in that he choses just one open public space and puts up a poster and leaves. Exactly after 25 days he comes there with a total team of 25 people and out of nowhere sets up an ultimate dance performance. One of the biggest problems is that he never lets anyone record his performances. On a personal interview, he mentioned that his performances are purely for charity and to support the downtrodden who in the region are actually trying to make a painful living selling their art. Sayan speaks his motivation to be from the blind kid he met in Kolkata Metro station who was sitting and singing without knowing anything but just one song and he sang it over and over again. Such performances are quite common in India and the colloquial prestige, heritage are associated. Along with the social lower stratum they cover and out of sheer hunger, there is also a big mindfulness associated in understanding their dynamics and improving the life of such people.

Concept
Sayan Paul has an interesting educational background in that he always joined an institution but found there is no point in education. When asked he told that money is the main asset not but finding, how to help each other and his explanation of helping each other is always in a public dimension. He believes that everyone in this world is helping each other, a father a mother a son, a friend, a stranger, everyone. In his context this whole world runs on how we let others define us. As of his own verses, he never gives up on any direction and wants to go in every and loves to travel a lot. Over the year in twelve months he is on foot, vehicles and every possible communication is used by him already. He says it helps him in learning new dance steps from foot steps to flight. Interesting he find how art transports with communication means. Walking through the pavements, he finds colloquial artists mostly of the regions who are not being able to tell why they do not want to go outside not at all. They are very hardwired to what they know and own and never want to give up on it, that is their art, culture and small gestures that define them. From the flimsy clothing to ragged beard and hairstyle, they have a vagabond appearance but it is so interesting to know that their vagabondage is limited within one region.

As he walks by the railway and metro stations, he says he finds people who love to travel farther, new songs, new skills. One might not expect a Rajasthan singer in the trains of Kolkata station but it is happening. They are the people who actually commute long distances and have a life like the trans-boundary migrating birds who travel in defined pathways and never stop form doing it.

Going higher, travelling by flight his team found no one knew them but a posh amount of audience existed who actually knew much about the mainstream online media. They are not must to be attached with regional singers of the regions they belong from. iPods, iPads and smartphones are their consumption and time is a must. It is interesting how they sit back and want to enjoy live shows on their devices. Live performances are appraised of the mainstream media whales and they are always entertaining us, even us he says. Motivating us and giving us communications from universities and researchers creating music from latest dimensions.

Agenda of life
Sayan Paul always heard from his grandfather who was a jamindar of a small town in Bengal. From an early age he was always confused as his grandfather used to leave early in the morning and would come back only later in evening every Sunday. When he returned with eager eyes, Sayan would ask where he went and what he did and his grandfather only gave him one reply, "I went for me". Sayan says he remembers only one thing from those ages when he used to carry a small flute. Later at a grown up age Sayan came to know about his grandfathers small hobby as a flute player. On asking his dad he found that his grandfather was not at all renowned as any famous flute player or neither did she end up as a musician but he would spend whole day with it. His father revealed later to him his grandfathers schedule. His grandfather used to go to his field and play the flute early in the morning and earn his first sunrise. Later he would go to the local bazar/hat and buy a lot of vegetables, fruits and general commodities and return. It was to rejuvenate himself and to motivate all the people who once used to play an instrument somewhere in that field and left with time. Sayan speaks thus that he too does the same for himself.

Performance Styles
Although it is hard to define a perfect genre in which Sayan is confined we could find that he was a jewel from each one of the state of India and choreographs something that is regional based on that region which they understand and find the performance according to the social cause and regional audience of the region like any normal performance