American choreographer Archie Burnett

India had a distinguished visitor all the way from America to conduct a dance workshop. Archie Burnett is a celebrated American dancer and choreographer known for his pioneering work in voguing, a style of dance originating from the LGBTQ+ ballroom scene. As one of the leading figures of voguing's international recognition, he has helped bring the art form into mainstream culture, particularly through his collaborations with artists like Madonna. Burnett's expressive style blends grace, power, and precision, often incorporating elements of performance art. He has also been an educator, sharing his knowledge and skills with aspiring dancers worldwide. His work continues to inspire and elevate the visibility of ballroom culture. I caught up with the dancing sensation for a tete-a-tete:

Tell me about a dance journey and background?

Growing up in New York City is an amazing treat. According to my mother I’ve been dancing since I was three years old. And I guess she figured for a brief time since I was dancing around the house she put me in ballet school at local ballet classes around the corner. For about six months when I was 12 years old. I guess she chose ballet because for that generation institutionalized European dancing was considered legitimate.

But like most boys, I did not have the discipline and constantly was teased so I stopped ballet classes. But the interesting thing is when I spin you see the technique there. So, something did stay. The television was my teacher Soul Train and American Bandstand and the club scene was my lab. So, in New York City, the club IS the classroom, you have different people meeting all in the same space and sharing their truth on the Dance floor to the same music. A come as you are party so to speak. You are good enough.

What brings you to India?

Kumari Suraj is the foundation in India, Kumari is the one who taught classes culture and community building in Mumbai over 10 years ago. Her students, like Mekhola Bose, Ayushi Amrute, Tejasvi Patil, Anushi Singh and Anasua Cowdhury have continued the passion and journey of this LGBTQ cultural dance. It is Kumari and their generational babies that sought to bring me, an elder custodian of this dance, OG (Older Guy) to India. And true to the nature of club culture the classes were done in the very same space the dance thrived, in the club. Mumbai Raasta. The extra bonus was getting to see my friend Terence Lewis.

How do you like India and the Indian dancers?

This is my first time in India, I’ve only had hear-say impressions of India before my actual journey. I personally could not be happier with the enthusiasm and passion of these young people here in India. It was a pleasure for me to see that this is consistent with the culture worldwide. The passion is overwhelming. The dedication to being present is delightful. I can say it is truly remarkable to see a transformation from the beginning to the end of the class, much less the event. Such a rewarding thing for me to see. I am a fanatic for Indian clothes and food. Chicken biryani, chicken tandoori and Mango Lassi are my most favourites. Aha but not the crazy traffic.

Which has been your most favourite dance projects?

Oh! There are many, throughout my career, I’m done music videos for example Johnny Kemp just got paid and Seductions. It takes two. My performance in Korea, whackers night 7 is one of my most emotional and beautiful rides. The performance was a perfect example of where this dance can take you, these days I am doing theater pieces put together by Ephrat Asherie dance Company. She’s the brainchild behind our touring theater experience call “Underscored” documenting five generations of dancers the oldest being 80 and their club journeys. There’s video, there are stories, there's dancing all set on stage. It is a project that I’m very passionate about, telling the history and experiences of New York City club life.

You are renowned in the field of whacking, what is your plan for the future?

I believe now, at this stage of my life, my purpose is to connect the dots between generations. There’s a lot that is lost in translation. These American dances have influenced the whole world. This American movement that we have today comes way before me. To have real life examples of living culture, Dancing Griots if you will, I believe are very important. It keeps a certain core consistency alive. Without that consistency something very historic and special is lost. So, I see this is my mission. And this amazing mission has led me to over 33% of the world which I’m very, very grateful.

People call whacking a FAD dance, what do you say?

Let me say that the journey is not for everyone. Once you’re hooked you’re are hooked. Those that see it as a fad will see it as such. But those that are in it, see way much more. The dance was a 70s dance here we are 2025. Fad I say not really. My reason is, this becomes part of what I call your Dance DNA. Everything you’ve learned up to this moment is added to you as a dancer. You never really throw that away. It becomes part of you. Cultural dance is rooted in expression and freedom. Those two things are intoxicating. Those very two things also are extremely liberating. And what I can tell freedom/liberation is something everyone yearns for. Especially in these times. Dance is directly related to the country, cultural environment, social condition and economy of the people. Informational highways like the Internet and television have been a game changer and exposing just a glimpse of the other side. So, every generation adds to a culture.