Hindi dance songs
Hindi dance songs are now widely heard around the world. They first became popular among overseas Indians and were eventually discovered by others.[1]
The filmi music and dances in Bollywood films are a synthesis of formal and folk Indian traditional music and dance traditions, in fusion with Middle Eastern techniques. The dances in older Hindi movies represented supposed dances of the common people, although they involved original choreography. Bollywood dances have evolved as a unique and energetic style. Since they are group dances, they are often used as joyful exercise music.[2]
The choreography of Bollywood dances takes inspiration from Indian folk dances, classical dances (like kathak) as well as disco and from earlier Hindi filmi dances.
Hindi film choreographers
Some of the notable choreographers of past years were [3]
- B. Sohanlal ( Sahib Bibi Aur Ghulam, Jewel Thief, Chaudhvin ka Chand)
- Lachhu Maharaj (Mahal, Pakeezah, Mughal-e-Azam)
- Chiman Seth (Mother India)
- Krishna Kumar (Awaara, Madhosh, Andaz)
Among the modern choreographers the notable are:
- Shiamak Davar (Taal, Bunty aur Babli, Dil To Pagal Hai)
- Saroj Khan (Baazigar, Soldier, Veer-Zaara)
- Ahmed Khan (Rangeela, Pardes, Mere Yaar Ki Shaadi Hai)
- Raju Khan (Lagaan, Krrish)
- Vaibhavi Merchant (Dhoom, Swades, Rang de Basanti)
- Remo (Jo Bole So Nihal, Pyaar Ke Side Effects, Waqt)
- Farah Khan (Kabhi Khushi Kabhie Gham..., Monsoon Wedding, Dil Chahta Hai)
Choreographers known for taking Bollywood dance global:
- Jyoti Trivedi known for taking Bollywood dance to the UK, namely London through The Angel Dance School.
See also
- Bollywood songs
- Babul
- Hemant Kumar
- Hindi wedding songs
Notes
References
- Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community by Keila Diehl
- Music of Hindu Trinidad: Songs from the India Diaspora by Helen Myers
- Cassette Culture: Popular Music and Technology in North India by Peter Manuel
- World Music Volume 2: Latin and North America, Caribbean, India, Asia and Pacific by Simon Broughton, Mark Ellingham
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