Meena Kumari in Pakeezah.
| Picture Credit score: The Hindu Archives
Keep in mind the variety of instances you’ve watched the enduring track ‘Chalte chalte’ from the Hindi movie Pakeezah. Other than, in fact, the dreamy eyes of Meena Kumari, you’ll have observed the 2 dancers within the background, wearing pearly white Anarkalis, reducing an image of grace and poise. The track is unimaginable with out them but they’ve remained unsung.
Kathak dancer Siddhi Goel took it upon herself to search out the identities of the 2 girls. She appeared via IMDB knowledge, spoke to actors of the time and watched the credit of a number of movies from the interval. Her analysis didn’t yield confirmed solutions however indicated that the 2 may very well be Leela and Sujata.
Siddhi’s greatest supply of data was Anjana Mumtaz, a disciple of Pt Gauri Shanker, who choreographed the track. Anjana was on the units of Pakeezah, particularly through the capturing of the track.
Celebrated dancer-choreographer Gopi Krishna with actor Sandhya in Jhanak Jhanak Payal Baaje.
| Picture Credit score:
Particular Association
Siddhi launched into a analysis journey (supported by an arts analysis grant from India Basis for the Arts) to hint the presence of Kathak in Hindi cinema over a interval of 100 years. “It’s an ongoing course of. Folks can help my analysis by sharing info (https://www.instagram.com/allthingskathak/).”
“ I’ve focussed not simply on the dance songs in movies but in addition at choreographers reminiscent of B. Sohanlal, B. Hiralal and Gopi Kishan. They had been exponents in Kathak. Even among the well-known actors of the time together with Jeevankala, Rani, Padma Khanna, Jayshree T and Bela Bose had learnt the artwork type. Then there have been dance assistants and background dancers, who had been principally classical dancers. My analysis prolonged as much as the arrival of Madhuri Dixit and creations of Sanjay Leela Bhansali. I’ve explored the modern developments too in Kathak so far as cinema is worried,” says the Delhi-based Siddhi.
Waheeda Rahman’s coaching in Kathak confirmed within the track ‘Piya tose naina lage re’ from Information.
| Picture Credit score:
Particular Association
Choreographies reminiscent of ‘Piya tose naina lage re’ from Information (1965), ‘Hothon pe aisi baat’ from Jewel Thief (1967), ‘Thade rahiyo o banke yaar’ and ‘Chalte Chalte’ from Pakeezah (1972) by Sohanlal, Hiralal, Pt. Lacchu Maharaj and Gauri Shanker profoundly impacted the aesthetics of dance in movies. Siddhi’s analysis focussed on the method of making a dance piece and the way track and dance took the film’s narrative ahead?
Siddhi’s needed to know the explanation behind why these artistes made a shift from classical to cinema. Was it as a result of patronage for the artwork was on the decline?
Kathak’s repertoire was additionally largely impacted by the tawaifs, whose lives impressed many movies of the time. Dadra, thumri and kajri quickly discovered a spot within the dance. Songs reminiscent of ‘Lagat karajwa most important chot’, ‘Thaade rahiyo o baanke yaar’ and ‘Mohe panghat pe nandlal’ are proof of this.
Madhubala’s swish dancing added to her attraction in Mughal-E-Azam
| Picture Credit score:
The Hindu Archives
In accordance with Siddhi, who holds a Masters in Arts and Aesthetics from Jawaharlal Nehru College, the shut interplay between classical legends and artistes of the movie world resulted in classics reminiscent of Mughal-E-Azam and Pakeezah. These films are nonetheless thought of artworks. “I used to be eager to spotlight how dancers had been an integral half within the making of those movies.
As an illustration, in ‘Teere nazar dekhenge’ from Pakeezah, which was choreographed by Pt, Gauri Shanker, the complete dance sequence helps the dramatic storytelling. So my research was not nearly its aesthetics but in addition a couple of technique of choreography that enhanced the emotional influence of the story.”
Recalling her interplay with dancer-actor Padma Khanna, Siddhi says, “Padma ji stated that whereas she entered cinema as a educated dancer, she credit her understanding of digicam and angles to her buddy and colleague Saroj Khan, who labored in movies as a dancer and dance assistant earlier than turning into a star choreographer.”
Siddhi Goel explores the the Kathak-cinema join.
| Picture Credit score:
Sheffai Reffai
Siddhi has tried to transcend the large three magnum opuses: Mughal-e-Azam, Pakeezah and Umrao Jaan. “One among my all time favorite mujra songs is ‘Ye raat phir na aayegi’ from Mahal (1949), choreographed by Kathak guru Pt. Lacchu Maharaj. It’s carried out by two girls. It’s an underrated track, however if you happen to look intently the dance stands out for its impeccable choreography and the way in which it has been shot.”
Heeramandi’s success is a sworn statement to Kathak’s persevering with bond with celluloid. “Grace, vigour and pure expressions intrinsic to the dance type made it appropriate for the favored medium. It’s stated that actors and administrators used to go to kothas to emulate the type of the courtesans.”
In its journey from the royal courts and celluloid to the proscenium, Kathak has been deeply impacted by altering historic, social and cultural milieus.
