Traditional Indian dance forms are a deep-rooted part of our culture, be it classical styles like Bharatanatyam, Kathak, Odissi, and Kuchipudi, or vibrant folk dances like Bhangra and Garba. However, mainstream cinema, especially Bollywood, has distorted these dance forms on-screen many times, prioritising entertainment over authenticity.
How Indian Dance Forms Are Often Misrepresented in Cinema
1. Mixing Classical and Filmy Dance Styles
Bollywood has long incorporated Indian dance forms, blending classical and folk styles with contemporary elements. In both ‘Bhool Bhulaiyaa’ (2007) and its third installment, ‘Bhool Bhulaiyaa 3’ (2023), Vidya Balan's dance and attire were a mix of Bharatanatyam and Odissi, with Bollywood movements sprinkled in. Not only that, but when Bharatanatyam and Kathak were performed by Vidya Balan and Madhuri Dixit respectively in the song ‘Ami je Tomar 3.0’ in ‘Bhool Bhulaiyaa 3’, the choreography included hip thrusts and cinematic spins that are pretty far from what classic Kathak is about.
In ‘Ghar More Pardesiya’ from ‘Kalank’ (2019), too, we saw a Hindi-film version of Kathak, not its true classical form.
2. Over-Sexualization of Traditional Dances
Many Indian dance forms focus on grace, storytelling, and spiritual elements, but in movies, the performances of even these art forms are hyper-sexualised.
In ‘Devdas’ (2002), Madhuri Dixit’s ‘Maar Dala’ song had elements of Kathak, but the excessive makeup, costume embellishments, and dramatic slow-motion shots diluted its authenticity. Similarly, Lavani, a traditional Maharashtrian folk dance, has also been misrepresented in movies like ‘Aiyyaa’ (2012), where it was depicted frivolously, with oversexualised moves, instead of being treated like the iconic cultural symbol it is.
3. Inaccurate Costumes and Styling
In ‘Bhool Bhulaiyaa 3’ (2023), Vidya Balan's dance style and attire featured traditional Bharatanatyam elements. However, notably, her character was shown wearing an Odissi headgear called Tahiya in both the films, which is traditionally associated with Odissi dance from Odisha. This headgear is significant as it connects to Lord Jagannath, whose idol is adorned with a similar Tahiya in the Puri Jagannath temple.
Films often take creative liberties with costumes, making them look more cinematic than authentic. For instance, in ‘Padmaavat’ (2018), Deepika Padukone’s ‘Ghoomar’ dance was visually stunning, but many Rajasthani critics pointed out that the costume and movements were not accurate representations of the traditional Ghoomar style.
In addition to that, many of Bollywood’s Kathak performances often feature costumes with excessive jewellery and unrealistic dance postures, which are far from the subtle elegance of the real dance form.
4. A Missed Opportunity to Recognise Indian Folk Dance Forms
While Bollywood heavily features Bhangra from Punjab, it often overlooks or inaccurately represents other regional folk dances like Assam's Bihu, Manipur’s Raas Leela, and the Chhau dance from Odisha and West Bengal. These dance forms rarely get their due representation, barring a brief glimpse of them in films like ‘Barfi’, and ‘Jagga Jasoos.’
In ‘Bhool Bhulaiya 3’ song ‘Aigiri Nandini’ many film critics criticised the inaccurate depiction of West Bengal’s traditional Dhunuchi Naach. They questioned why dancers were doing a Gujarati dance like the Garba, during sindoor khela, which is an event deeply rooted in Bengali culture. Critics also pointed out that the dance movements hardly had any resemblance to the authentic Dhunuchi Naach, which is typically performed during Durga Puja.
5. Prioritising Visual Appeal Over Authenticity
Many films prioritise visual grandeur over technical accuracy, leading to a fusion that loses the essence of traditional dance. In ‘Bajirao Mastani’ (2015), ‘Pinga’ was criticised for its unrealistic portrayal of Peshwa-era dance, as the movements in the song resembled Bollywood choreography more than an authentic Marathi folk dance. Many also argued that historically, Mastani and Kashibai wouldn’t have ever danced together thus.
While Indian cinema plays a huge role in popularising dance, it often distorts traditional forms to fit commercial aesthetics. A more responsible approach, including consulting expert choreographers and maintaining cultural accuracy, would help preserve the integrity of India’s rich dance heritage while still making it cinematic.
Image courtesy:
The VFX studio Redchillies
Bhansali Productions
Amber Entertainment
Eros International
Red Chillies Entertainment
Mega Bollywood
Viacom 18 Motion Pictures
