Classical Dance in Cinema: A Losing Battle?
Classical dance traditions in Indian cinema face the risk of being watered down, sparking debate about authenticity. Veteran dancers like Vyjayanthimala and Hema Malini recall that even during their times, true artistry was preserved, but today's commercial demands pose challenges.
Highlights
- •Dilution of Classical Dance in Cinema
- •Veteran Actress Vyjayanthimala's Concerns
- •Sanjay Leela Bhansali as an Exception
- •Madhuri Dixit's Desire for Great Dancing Films
The controversy surrounding Ananya Panday's Bharatanatyam-inspired performance in Chand Mera Dil has sparked a broader discussion on whether the purity of classical dance traditions is being compromised in Indian cinema. Veteran actress and danseuse Vyjayanthimala laments that this dilution began decades ago, citing her own experiences.
In 'Amrapali,' where she performed without compromising artistry, Vyjayanthimala reminisces about working with Waheed Khanna during a film era when such performances were few and far between. 'I was fortunate to work in films like Amrapali where the entire narrative revolved around dance,' she said. Yet, she adds, 'how many such films were made even then?'
Contemporary Performances: A Mixed Bag
The landscape has since shifted. In Govind Nihalani's 1999 film Thakshak, Tabu's interpretative dance in the song 'Rang De' left experts divided as to which classical form it represented. More recently, Vidya Balan's Kathak-inspired moves in Bhool Bhulaiyaa avoided the scrutiny now directed at Ananya Panday.
Both Vyjayanthimala and Hema Malini advocate for separating commercial dance numbers from true classical performances. 'Dancing in films and performing classical dance are two separate disciplines,' emphasizes Hema, who initially felt uncomfortable performing filmi dances but consciously kept them apart.
Asha Parekh, trained in Bharatanatyam, Kathak, and Odissi, feels that the space for classical dance has diminished. She sees Sanjay Leela Bhansali as an exception: 'In Devdas, he brought legendary Birju Maharaj to choreograph Madhuri Dixit; Heeramandi featured stunning sequences.' However, she hopes that one day she could dance in his films.
Madhuri Dixit, often regarded as the last great dancing diva of Hindi cinema, echoes their sentiments: 'I wish I could do a memorable dance film like Waheedaji's Guide or Meenaji's Pakeezah.' The current landscape offers limited scope for such performances. Even popular films have shifted focus away from classical dance due to time constraints and budgetary considerations.
