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Home > Songs and Dance in Indian Films
Songs and Dance in Indian Films
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Bollywood without its distinctive trademark of song and dance is inconceivable. Music, songs and dance are the very life line of the Indian film industry. It is this which adds chaaracter to the industry in recognising its unique selling point.

Genre conventions

Most Bollywood films would be classified as musicals. Few movies are made without at least one song-and-dance number. However, they do not fit easily in the "musical" category as defined by Hollywood movies; they usually contain a great deal more in the way of plot and action than is found in the typical Hollywood musical.

Indian audiences expect full value for their money, with a good entertainer generally referred to as paisa vasool, (literally, "money`s worth"). Songs and dances, love triangles, comedy and dare-devil thrills-all are mixed up in a three-hour-long extravaganza with an intermission. Such movies are called masala movies, after the Hindi word for a spice mixture, masala. Like masalas, these movies are a mixture of many things.

Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

There have always been Indian films with more "artistic" aims and more sophisticated stories, both inside and outside the Bollywood tradition (see Indian art cinema). They often lost out at the box office to movies with more mass appeal.

Bollywood conventions are changing, however. A large Indian diaspora in English speaking countries, and increased Western influence at home, have nudged Bollywood films closer to Hollywood models. Film kisses are no longer banned; the once-ubiquitous "wet" scenes, with damp saris molded to an actress`s curvaceous form, have been replaced by skin, pure and simple. Plots now tend to feature Westernized urbanites dating and dancing in discos rather than arranged marriages. Plots can be less melodramatic, more sophisticated. Some Indians think that this is "progress"; others miss the masala films of yore.

Bollywood song and dance

Songs in Bollywood are sung by professional playback singers, rather than actors, who lip-sync the lyrics. Pictured here is Mukesh Chand Mathur (commonly known as Mukesh), a famed playback singer.

Bollywood film music is called filmi music (from Hindi, meaning "of films").

Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then lip synching the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was Kishore Kumar, who starred in several major films in the 1950s while also having a stellar career as a playback singer. K. L. Saigal, Suraiyya and Noor Jehan were also known as both singers and actors.

Of late, a few actors have again tried singing for themselves:

  • Amitabh Bachchan, sang "Mere Angane Mein" in "Lawaaris" in the mid-80`s, and has also sung in "Silsila", "Mahaan" "Toofan", Baghban, and Kabhi Khushi Kabhi Gham, as well as doing a duet with Adnan Sami in the song Kabhi Nahin (Never).


  • Aamir Khan took a turn singing "Aati Kya Khandala" in Ghulam but only because "the character had attitude that only Aamir could do justice to", according to director Vikram Bhatt.


  • In 2005, Abhishek Bachchan sang a popular rap song in Rohan Sippy`s film Bluffmaster.


  • Shah Rukh Khan sang Apun Bola in Josh, (Year 2000)


  • These forays, while well-received at the time, have not led to real singing careers for the actors.

    Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lackluster movie just to hear their favourites. One of the most recorded of these playback singers is Lata Mangeshkar who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. Most of the female songs in films from the 1950s, 1960s, and 1970s were sung by Lata. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. Remixing of filmi songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films` songs along with the films` regular soundtrack albums.

    The dancing in Bollywood films, especially older ones, is primarily modeled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is not unusual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers, usually of the same sex. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location and/or changes of costume between verses of a song. If the hero and heroine dance and sing a pas-de-deux (a dance and ballet term, meaning "dance of two"), it is often staged in beautiful natural surroundings or architecturally grand settings. This staging is referred to as a "picturization." Switzerland has become a popular setting for these picturizations, largely because its Alpine valleys are reminiscent of Kashmir. Though considered by many to be one of India`s most beautiful regions, Kashmir has been generally off-limits for quite some time due to armed conflict and terrorism.

    Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing; other times, a song is an externalization of a character`s thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is almost always two characters` falling in love.

    Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The dancer Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

    "Dialogues" and lyrics

    Richard RodgersThe film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people. The lines of dialogue are mostly written in Hindi, with use of Urdu in situations which require poetic speech. Contemporary mainstream movies also make great use of English. The language is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally.

    Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is not unlike the pairings of American composers and songwriters that created old-time Broadway musicals (e.g., Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Urdu or Hindustani vocabulary which has many elegant and poetic Arabic and Persian loan-words. Here`s a sample from the 1983 film Hero, written by the lyricist Anand Bakshi:

    Bichhdey abhi to hum, bas kal parso,
    jiyoongi main kaisey, is haal mein barson?
    Maut na aayi, teri yaad kyon aayi,
    Haaye, lambi judaayi!
    (We have been separated just a day or two,
    How am I going to go on this way for years?
    Death doesn`t come; why, instead, do these memories of you?
    Oh, this long separation!)

    Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

    Hindi songs from movies

    The Bollywood songs (often termed "filmi songs") are heard far beyond the borders of India. The lines of Bollywood songs are some of the most memorized and repeated expressions in India. Yet, since Bollywood has not been considered formal literature, the lyrics of the Bollywood songs have not been studied in an academic setting.

    The language of the filmi songs can be complex. It is termed Hindi in India and Urdu in Pakistan. Many songs are saturated with Farsi terms, others can be in shuddha Hindi. It is not uncommon now to see usage of English words. Several dialects have been used: Braj, Bhojpuri, Punjabi, Rajasthani. Occasionally a few lines in another Indian language (for example in Jya Jale from Dil Se, or even a foreign language are added for mystery.

    The lyrics are both modern and traditional.

    The Nine Rasas

    A `rasa` identifies the dominant emotion of a composition (a song or a text). In Sanskrit and Hindi literature, nine different types of Rasas are often enumerated.

    1. Shringar - love, sensuality and eroticism
  • virah: separation

  • milan: being together


  • 2. Raudra - anger, rage, and violence

    3. Hasya - laughter and happiness

    4. Vibhatsaya - disgust

    5. Veera - heroism

    6. Karuna - pathos and compassion

    7. Bhayanak - fear and anxiety

    8. Adabhuta- Wonder and curiosity

    9. Shanta - Contemplative and peaceful

    This classification goes back to when the chief patrons of literature were kings and nobles. The filmi songs are however written for common people and thus there are some common themes that are often encountered -songs for children, songs of betrayal and dejection, marriage songs etc. that ordinary people can relate with.

    Some popular representative songs

    Segments of some representative songs are given here. Most of them are among the most popular ones, even the older ones would be immediately recognized by song lovers. The translations given are approximate. Many of the expressions used cannot be translated into English exactly, some of the translations are chosen to be literal.

    Guru Dutt in Pyaasajaane kyaa tuune kahii from Pyaasa (1957), by Sahir Ludhianvi

    This classic song describes the onset of love.

    English Translation:

    I don`t know what you said, and don`t know what I heard, but it happened.
    There was some stirring, I trembled, and many dreams arose.

    The song hints at love and passion using the simplest words, without using any equivalents for the term "love".

    Kabuliwalaai mere pyaare vatan from Kabuliwala (1961), by Prem Dhawan

    The song expresses the yearning for the homeland by someone who has been away for a long time.

    English Translation:

    O my beloved homeland, my distant paradise, I sacrifice my heart for you.
    You are my cherished desire, your are my honor, you are my life.
    I salute the breeze that has passed from your valleys, I will kiss anyone who will mention your name.

    The language of this song has an Urdu flavor, the words vatan, chaman, qurban, arzu, abru are of Farsi/Arabic origin.

    This is considered to be a song of "desh-bhakti" (patriotism, see List_of_patriotic_songs#India), the term vatan is taken to mean India. For overseas Indians, the song expresses their sentiments directly. For the original context of the song, please see the discussion about the movie Kabuliwala.

    Bandiniab ke baras bhej bhaiya ko baabul from Bandini (1963), by Shailendra

    This is popular song for the raksha-bandhan festival which falls in the month of Savan (Shravana). It is common for a married girl to visit her parent`s family on this occasion, or at least send a rakhi for her brother.

    English Translation:

    This year, Dad, send my brother to escort me home during Savan.
    All the girls I grew up with will also be back then.
    People will tie swings on the branches of the mango trees, and the rain showers will come
    In your courtyard , Dad, the cool breezes of Savan will return.
    I have tears in my eyes, and my heart pines,
    when I recall my childhood.

    To convey the early and folk emotions, the song uses local dialects (now sometimes used only in the villages). Much of it uses the Braj dialect, a western Hindi dialect, however ambua (mango, aam is standard Hindi) is eastern Hindi.

    The word babul is now used only in songs. A marriage is a profundly sad occasion for a girl in India that is when she leaves the shelter of her beloved babul to an unknown future.

    Saraswati Chandrachandan saa badan, chanchal chitavan from Saraswati Chandra (1968), by Indeevar

    The song follows the classic milan theme of the shringar rasa.

    English Translation:

    Your body is like sandalwood, your naughly glances, your soft smile,
    People should not blame me if I become crazy,
    Your eye-brows like the bow of Kamadeva, dark edges of your eye-lids
    On your forehead, the sindur glows like the sun, your burning lips

    The song is mostly in standard Hindi, although kajarare (dark with kohl, is a folk term. The traditional nakh-shikh varnan theme is used. In Hindi poetry, the exchange of glances is considered to be among the most erotic part of flirting. There are quite a few songs about eyes.

    Prem Pujariphuulon ke rang se from Prem Pujari (1970), by Neeraj

    A classic love song. A lover just cannot forget his beloved.

    English Translation:

    Using colors of flowers as ink, and my heart as a pen, I wrote to you every day.
    I can`t even say in how many ways, you torture me every instant,
    I dream of you, and I keep awake thinking about you,
    I am all tangled up in thoughts about you, like a thread in a garland

    This love song, in simple and sweet Hindi, recalls a famous devotional hymn by Bhakta Raidas:

    DonO khaike paan banaras wala from Don (1978), by Anjaan

    This playful boisterous song sung by Kishore Kumar was one of his greatest hits and was played often by the paan shops. The song refers to a young man from the shores of Ganga, perhaps eastern Uttar Pradesh or Bihar, where people love to eat paan and tend to

    English Translation:

    If you have a paan from Benares,
    it will unlock your brain!
    and you will do amazing things,
    you will straighten up everyone,
    O young man from the shores of Ganga!

    The words "khaike" and "aisa" are in eastern Hindi. The song has been reincarnated in several remixes. A culturally related song, by the famous poet Harivansh Rai Bachchan also refers to paan.

    Chal Chaiyya Chaiyya from Dil SeChal Chaiyya Chaiyya from Dil Se (1998), by Gulzar

    The Chaiyya Chaiyya song serves as the opening and close of the recent Hollywood movie Inside Man. The song is known for the A.R. Rahman`s music, the words are somewhat mysterious.

    English Translation:

    Whose head is in the shade of love, heaven is under his feet.
    Walk in the shade, remain in the shade,
    remain in the shade, remain in the shade.
    The flower-wearer walks around self-assured, I can spot him by the scent,
    I can wear him like an amulet, sometime I encounter him as a hymn.

    Like the songs of Mirabai or works of several sufi poets, this song is dvayashraya kavya, it can be interpreted in two ways; as a worldly love song, or a song for the beloved lord.

    Note that in India, the sun is often very hot, and thus shade provides comforting shelter. Taviz is an amulet containg a paper with a sacred text as a charm. Ayat is a verse from the Qur`an.

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