Being one of the early waacking dancers of our generation, Sangram Mukhopadhyay’s oddly relevant gender was at the forefront of most of my assignments. Having been aware of the gender disparity in the classical dance realm, this wasn’t new to him but was definitely surprising. As the style calls for gender emancipation and is about acknowledging oneself and identifying as exactly one needs to be, Sangram later made these critical questions a part of his practice and had responded to Sandbox Collective’s Gender Bender 2020 series. The conversations and experiences from the above-mentioned arts practice have given way to exploration about understanding the self and how it is to be othered from the collected narratives and experiences from the series. His performance questions the position of the gender, whether it lies in the mind or the body tries to shed light on how much unlearning it takes to acknowledge the veracity of gender and body dysphoria. The tools generally used in workshops to build a certain coherence about the style were, in his attempt, a part of the performance directly. The theme-based presentation further brought the question of “Can Waacking/Whacking evolve from being a physical language of gender to building upon the vocabulary of gender outside the binary forms of movement?” The narrative is driven by stories of women who have borders of gender running through to negotiate as to who has the ownership over the movement vis-a-vis who has the ownership over the intent of it. The performance was followed by a conversation with Sujay Saple and special guest Radhika Singh (Assistant Director Programmes & Quality Assurance, British Council).