Guest article by DP Rangan
(An interesting feature of our films is the dances performed in the streets, often by unknown actors. Sometimes the main protagonists also take to dancing and singing in the streets. Naturally a big crowd assembles around them enjoying the performance. These songs generally come at a critical juncture in the film, for relieving the tension, or as a surrogate for the inner feelings of shy lovers, or a gangster’s mole distracting the attention of the people for the gang to commit their act. These songs were key for taking the story forward. Often these songs became the high point of the film and achieved everlasting popularity – note the recent remix of ‘Jhumka gira re’ in ‘Rocky Aur Rani Ki Prem Kahani’.
Our guest author today is well-known to the regulars of SOY – he has written over 30 articles for the blog. Considering that Hindi is not his native language, and he is into 80s, and half the year he travels abroad, this is no mean feat. The theme ‘Street Dancers of Bollywood’ has long been on his radar, and in fact the completed article has been in my folder for quite some time. He is still not back in India from his travels. But I find he has been logging in and commenting nevertheless. Therefore, without waiting any further I post this superb article. Thanks a lot Mr Rangan. – AK)
It is next to impossible to determine when dancing as a sort of celebration was introduced among humans. Migration of homo sapiens commenced from Africa and over several millennium they spread over Europe and Asia. It is much later they settled in various places, found a community with distinct language of their own. Once basic necessities of survival were achieved, society turned towards development of various kinds of artistic skills. Music and dancing were the offshoot of such an endeavour. There is adequate archeological evidence of prevalence of a sort of music and dance even in early societies of human beings. Over a long period of time as they improved their standard of living, artistic skills also flourished in tandem. Music and dancing diversified among societies in the world and in our country this reached a pinnacle much earlier. Many schools of music and dancing were established in different regions. In music we had the Hindustani and Carnatic system. In dance many offshoots as Kathak, Kuchipudi, Bharatnatyam evolved.
I have not seen any movies from the silent era. But I am sure dancing would have been part of the show. With the advent of talkies from 1932, their place was cemented and it became an organic part of the theme. Actresses who had achieved proficiency in dancing as Kathak, Bharatnatyam had an easy entry into films and we had wonderful scenes of dancing in historical and social movies with equally good matching music.
Actresses with no formal skill in dancing, did some sort of pirouetting while singing. Dance masters who stage-managed such scenes were also part of film production team. My sympathies were with the actresses who had to exert more in some sort of flitting around while participating in solos/duets while the male counterpart was more or less stationery. Film producers hit upon the idea of including scenes of dancing by second tier actors and actresses with light music in the background. Thus was born street dancers in our pictures. In these scenes, occasionally male actors, too, took an active part and it was usually staged in the street with a crowd of persons as spectators and admirers. There was another type in this genre. The hero and the heroine, as a pair of lovers, were buttonholed into witnessing such street dancing and it usually happened at night. I will now introduce a few songs on this topic. As expected female solos were the dominant kind as female dancers were the focus of the entire scene.
1. Do din ke bahar pyare by Lata Mangeshkar & chorus from Dulari (1949), lyrics Shakeel Badayuni, music Naushad
A rich man’s daughter kidnapped as a child by a band of gypsies, grows up with them and returns to the town from where she was lifted. She is now a full grown beauty. Madhubala as the gypsy looks the part and the picture is full of dance songs. She is dancing in the street with her troupe with an admiring crowd around. Suresh, the hero, is astride his horse with a stable hand at his side and is devouring Madhubala with his eyes and she also sings in gay abandon with pointed attention at him. The picture had many iconic songs.
2. Tamtam se jhanko na Raniji, gaadi se gaadi lad jayegi by Shamshad Begum & others from Namoona (1949), lyrics Pyarelal Santoshi, music C Ramchandra
A street dancing scene unfolds with a female dancer accompanied by harmonium toting male and the usual crowd of spectators enjoying this free entertainment. C Ramchandra is always the master of any situation and the lyricist also did his part with such lines as – hazaron tumhare hain peeche pade, hazaron tumhare hai aage khade, ….wo dekho policeman aa jayega, aur thane me tumko wo le jayega. There is also an equally good song of the same kind – Mhari gali ma aao ji (Lata Mangeshkar).
3. Mere ghungar wale baal, O Raja by Shamshad Begum & chorus from Pardes (1950), lyrics Shakeel Badauni, music Ghulam Mohammad
Cuckoo as part of the gypsy band puts up a very good performance and she is all provocation and enchants the two gate-crashers, Rehman and Karan Dewan who are accidental spectators. Ghulam Mohammad’s musical skills are evident in this dance number and Shamshad Begum had sung with gusto. All elements have fused together in this song.
4. Duniya jawan hai dil meherban hai by Gandhari and Mohammad Rafi from Rail Ka Dibba (1953), lyrics Shakeel Badayuni, music Ghulam Mohammad
Street dance by Cuckoo with a male accompanying her playing the harmonium, a standard scene in movies wherever it finds a place. This song emphasises the importance of money in human life. The music director and lyricist have combined together to present a light tune but with meaningful thoughts.
5. Aao hamare hotel me chay piyo garam garam by S D Batish and Sudha Malhotra from Kundan (1955), music Ghulam Mohammad, lyrics Shakeel Badayuni
This is not a classic street dance. It was a novel situation and I felt I could squeeze this here. Om Prakash and Manorama as owners of the hotel are inviting people to sample their tea, biscuit and other items. All the songs in the film were well tuned by Ghulam Mohammad and a rare song of light theme from Shakeel Badayuni.
6. Baliye Oh baliye chal chaliye by Lata Mangeshkar and Usha Mangeshkar from Aazad (1955), music C Ramchandra, lyrics Rajendra Krishna
Pakshiraj remake of successful Tamil movie “Malai Kallan” (Bandit of the Hill), Aazad was a runaway success in Hindi, too, with Dilip Kumar and Meena Kumari in lead roles. C Ramchandra composed music at short notice and was exemplary. In this scene Sai and Subbalakshmi, well known dancing sisters, are putting up a show outside Meena Kumari’s residence with the objective of conveying an important message to her from Aazad (Dilip Kumar). This is a street dance with all its characteristics.
7. Is duniya mein sab chor chor by Lata Mangeshkar from Bhai Bhai (1956), music Madan Mohan, lyrics Rajendra Krishna
Nimmi is merrily singing in the streets condemning the world as a den of thieves and calling bystanders in like terms – “Koi chhota chor, koi bada chor ye baitha chor ye khada chor” . Her dance with a mischievous gleam in her eyes is captivating and Madan Mohan music is most apt for this song.
8. Mera naam Abdul Rehman by Kishore Kumar and Lata Mangeshkar from Bhai Bhai (1956), music Madan Mohan, lyrics Rajendra Krishna
A classic street dance song with all elements in the right place. Kishore Kumar as usual at his best in his singing style. A pleasure to watch this song tuned by Madan Mohan in apt fashion.
9. Honth gulabi gaal katore by Mohammad Rafi & Asha Bhonsle from Ghar Sansar (1958), music Ravi, lyrics Majrooh Sultanpuri
Street dance in true Bhangra style and well enacted by Johnny Walker and Naaz (my presumption). Anyone listening to this song would attribute it to O P Nayyar. Versatile Ravi has shown he can also compile songs in Punjabi style.
10. Badla sara zamana by Mohammad Rafi & Asha Bhonsle from Paigham (1959), music C Ramchandra, lyrics Kavi Pradeep
Johnny Walker and Minoo Mumtaz enact this roadside show. Johnny Walker talks about the corruption in values in the society and loss of integrity by people. Just a routine song, below the standard of C Ramchandra. Johnny Walker by his pantomime keeps this alive.
11. Gori odh ke malmal by Mohammad Rafi and Lata Mangeshkar from Kali Topi Lal Rumal (1959), music Chitragupt, lyrics Majrooh Sultanpuri
Aga and Kumkum are the dancers. Aga is describing the way he is being beleaguered by Kumkum and how she is trying to enmesh him in her charms.
12. Pani hota doob hi jaate by Mohammad Rafi and Kamla Sista from Miyan Biwi Raazi (1960), music S D Burman, lyrics Shailendra
Kamla Sista was discovered by S D Burman in a college music contest to which he was invited. She sang her only song, a duet and vanished. This is a typical street dancer song.
13 Jhumka gira re Bareli ke bazaar mein by Asha Bhosle from Mere Saya (1966), music Madan Mohan, lyrics Raja Mehdi Ali Khan
The ultimate in this genre of song I consider this to be. Asha Bhosle brought to life the seductive nature of the song by her way of singing and Madan Mohan composed a melody to remain forever in the minds of listeners. Sadhna as the gypsy double of city bred Sadhna played her part to perfection.
https://www.youtube.com/watch?v=ETSsIHOnuTY
I throw down my pen now. I had some difficulty in garnering this many songs. A majority I remembered from radio days and movies I had seen. I am fondly hoping that blog followers will dig out many more songs of this elk from the Hindi film music ocean.
Acknowledgement and Disclaimer:
The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
{ 39 comments… read them below or add one }
Indeed a very interesting subject.
One variation was where the song lyrics of the street performance contained either a message for the hero or heroine or would be reflecting the goings-0n in the mind of her or the heroine.
https://youtu.be/qIKATPQo6ds?si=624SZ4WthNNuLrLE
Unique topic -nicely written by Rangan Ji.
I could immediately think of a famous street dancing song: Deewane Hai Deewanon Ko Na Ghar Chhahiye from the film Zanjeer ( 1973), Duet by Rafi & Lata, music by Kalyanji-Anandji and written by Gulshan Bawara-and also he enacted on screen playing the harmonium. I remember listening to Gulshan Bawara himself narrating an interesting anecodote about this song( I had heard this in Vividh Bharati , AIR).
On the day the song was to be recorded, Rafi sahab was having high fever and though had come for recording , was thinking of cancelling it. When Gulshan Bawara requested that the song was to be picturized on him, the great Rafi, as usual , obliged and can anyone believe he sang this with a high fever running.! Being the Rafi centenary year, I thought of sharing this…..
https://www.youtube.com/watch?v=NvXxswiQ880
This is a wonderful topic with unlimited options for selection of excellent songs. Here I want to name a few relatively unknown ones starting with a song from AMARDEEP (1958) Iss jahan ka pyar jhootha sung by Asha Bhosle, Mannadey and Rafi to go on Padmini, Dev Anand and Johnny Walker. Another one is from OPERA HOUSE (1963) Raste Mein tere sung by Lata and Rafi on junior artistes by hero and heroine are present. Then there is one song from Post Box 999 (1958) with hero and heroine present but song filmed on others, Bichhde huey milenge hum sung by Rafi and Asha tuned by Kalyanji Veerji Shah which very much reminds us of the Zanjeer song.
Another good topic selection, well presented, doing full justice to your intent and the content.
Sharing some observations.
Glad to find the iconic song “Jhumka gira re, Bareli ki Bazar mein jhumka gira re “. All the 13 lilting songs posted here were previously heard ones, yet I enjoyed listening to them again, especially the first five vintage numbers. Also delighted to find 3 songs composed by Ghulam Mohammad. I could see 3 songs each of Ghulam Mohammad, C Ramachandra and Madan Mohan, four songs penned by Shaqeel Badayuni and 3 by Rajendra Krishan. Obviously with Naushad’s and Ghulam Mohammad’s song in the list, Shakeel Badayuni should be on the top of the list.
Since the emphasis is on street dancers, song no. 7 & 8 from the film Bhai Bhai (1956) and song no.1 from Dulari (1949) seems to me to be the most apt songs. In Bhai Bhai, the two protagonist Rani (Nimmi) is a street dancer and Raja (Kishor Kumar) is a street-smart pickpocket. And song no. 8 is the only one in your selection, where we find both the protagonists dancing and singing on the streets, where as in the other song both the protagonists are present, but the performer is Rani (Nimmi) and Raja (Kishore Kumar) is busy pickpocketing the engrossed bystanders. The first song from Dulari (1949), the main characters Madhubala and Suresh along with Shyam Kumar can be seen in the visuals. Not only the master on the horse back, but also his stable hand is swooned over by the gyrations and good looks of the dancer.
Besides you have posted 3 dance songs of Cuckoo, the eternal street dancer, two situational songs where both the protagonists are silent spectators watching the dancers, two promotional songs, where the performers are trying to sell their merchandises.
Finally, we can see number musical instruments in the visuals like Daphli, Dholak, Mandolin, Flute, Harmonium, Maraca, Shehnai, Naqqara, Duggi/Duggad, Dotara, Double flute/ Pungi, Castanets, Sarangi……. In one song I could sight western orchestra with Drums, Violin, Bass fiddle and woodwind instrument Clarinet. In another there is aband group playing the brass instruments like Tuba and trumpet etc.
Thanks Ranganji for the aural and visual varieties.
Posting a song from Street Singer (1938).
Produced by New Theatres, the film had several popular songs, all penned by Arzoo Lucknavi (except one) and composed by Rai Chand Boral. Bhulwa (K L Saigal) and Manju (Kanan Devi ) are the lead characters. Four songs, “Babul Moraa Naihar Chhutohi Jaae”, Paap Bhara……”, “Prem Bhikari Premi Jogi” and “Ghungharwa Baje Chananana Chan” were shot on the streets, but none of them had dancing in the real sense. The last mentioned song shows the transition of Manju and Bhulwa from childhood to adulthood. Here the child Manju makes some dancing movements. I take the liberty of posting this song.
https://www.youtube.com/watch?v=_1lXPtUg70A
Next one is an iconic song from 1949 film Badi Behan
Chup Chup Khade Ho, Zaroor Koi Baat Hai, Lata Mangeshkar & Premlata, lyrics Rajendra Krishan, music Husnlal- Bhagatram
https://www.youtube.com/watch?v=-btaTuMDqbE
The Tamil film Gulebakawali (1955) was dubbed in Hindi as Gul-e-bakawali (1956). Gul-e-Bakawali is a species of cactus also known as Night Queen or Nishagandha. Kissa-e-Gul-e-Bakawali was a popular medieval romance story derived from a Persian Masnavi. Besides Pushtu, Punjabi and many other Indian languages, this was translated in Kashmiri by Lasa Khan Fida and in Bengali by the seventeenth century Bengali poet Nawajish Khan. Starting from the silent era till the 1980s, there are at least ten versions of this film, made in Hindi, Punjabi, Telugu and Tamil. Two versions were made during the silent era. The song “Bhaire maine is aalam mein…….” by Md.Rafi and Shamsad Begum is an ideal street dance song. The video link of the song was available even a few years back, but now only the audio link is available. Since it is a dubbed sung, I would post the link to the Tamil version song and then post the audio link of the Hindi version.
Acchu nimirndha vandi by Chandrababu and Jikki from the film Gulebakawali (1955), lyrics Tanjore N Ramaiah Dass, music Vishwanathan-Ramamoorthy
https://www.youtube.com/watch?v=VOwEY6UUobI
Bhaire maine is aalam mean by Md.Rafi and Shamsad Begum from the film Gul-e-Bakawali (1956), lyrics Pyarelal Santoshi
https://www.youtube.com/watch?v=qsXIq4LyqmA
Ashokji
Thanks for your note of appreciation for the post. Your interpretation of the lyrics reflects the misery felt by doctor Raaj Kumar from his sad facial expressions. He is probably reflecting on the blunder he had committted in contracting a bad marriage.
Sivanandamji
Very much appreciate your positive note of appreciation of the post and qualifying it as ‘unique’. The song you posted is in a different context in that the lead actors are viewing the going on in the road from their room and not bystanders. The song is inducing the lovers to be more assertive in their love affair.
Venkataramanji
I do not know whether I deserve kudos for the way you have commented about my post at the beginning. I thank you for this.
Your masterly detailed analysis of the post is far better than my writeup and I do not know how you are able to dig out such details about movies. I did see the film ‘Gulebagavalli’ in tamil. The famous music duos did give splendid music. Another good song from the movie was sung by T R Rajakumari, heroine in the famous Gemini movie – Chandralekha – which begins with the line – “villendraum veerarellam pagadileye” sung by P. Leela and Tiruchi Loganathan meaning that the archers are not able to defeat the role of dice she threw.
https://youtu.be/PqBI70073nw?t=3
Another song – Aasaiyum nesamum sung by Jamuna Rani picturised on Raja Sulochana is a copy of a C Ramachandra song.
https://youtu.be/wCXDvw1jazA?t=287
The good news is you have broken out of the cocoon of withdrawal you wove earlier and really flew as a butterfly with your erudite article rather a comment.
Leant a lot from your two comments. These are priceless.
KB @ 3
It is indeed very kind of you to appreciate the post in such a positive manner. I am very grateful to you. Here are the links for the songs I could locate in the you tube ocean in the order in which you have mentioned.
https://youtu.be/4uOBd1S5anE?t=4 ( C Ramchandra)
https://youtu.be/FueWKQoNQcI?t=62 (Chitragupt)
https://youtu.be/W92uZnx-OGY?t=42
Venkataramanji @5,
Thanks a lot for your detailed comments. We can also draw some inference about evolution of street dance songs in our films. Our earliest films might have been inspired by Persian Theatre and folk dance-drama tradition, but street dance songs seem to have evolved later in our films. Thanks for adding the clip from Stree Singer (1937). This was the fittest film to have street dance songs. They kept the songs part, but bulked at dance. The only compromise they could do was to have a child Kanan Devi break into some dance steps.
1956-57 seems to be the beginning of street dance songs with CID‘s, Le ke pahla pahla pyar and Shammi Kapoor’s repackaging in Tumsa Nahin Dekha. That made dancing by lead actors fashionable. There is tentative transition in Shree 420 (1955) with Dil ka haal sune dilwala and O ramaiya vastavaiya.
Rangan ji,
This is a wonderful post capturing some lovely street performances! I believe that in many a film, the street performances had a lot to do with the plot development. For example in Kaala Paani, Dev Anand and Madhubala are disguised as street dancers and they reach the villain’s house and do some snooping in this guise. The song is Dilwaale Ab Teri Gali Tak sung as duet by Asha and Rafi.
https://www.youtube.com/watch?v=aNSX42SsMpo&t=12s
The other song which comes to mind is from Musaafir where Shailendra is seen on screen singing. Tedhi Tedhi Hum Se Chale, with Heera Sawant and Keshto. The song is delightful especially with the antics of Keshto who is not crippled but acts like one. I don’t remember the situation of the movie though when this song appears.
https://www.youtube.com/watch?v=cTKw5pV0Utc
Ranganji,
I think butterflies’ life span is hardly few weeks, but some species survive longer, for many months.
Gulebakawali had 11 songs, ten songs were composed by Vishwanathan-Ramamurthy duo. The song “Mayakkum malai pozhuthe nee po (Raag Bhagewari/Bhagesri) was composed by K V Mahadevan initially for the film Koondukkili. (1954). Koondukkili was the only film where M G Ramachandran (MGR) and Shivaji Ganeshan acted together. Both of them wanted the song. The producer, Ramanna, unable to resolve the issue, decided not to use the song in this film. Later the song was used in the next film Gulebakawali for MGR! The credit for this song was given to Vishwanathan- Ramamoorthy pair, who scored the music for Gulebakawali. Here is the Hindi version by Talat Mahmood & Jikki, lyrics Indeevar
https://www.youtube.com/watch?v=26nUL5qVtZw&list=PLh70ZOyHv6G2-fZTB0pDimfVYc5EQ1NOm&index=5
Returning to the topic under discussion after that brief digression.
Posting an interesting song from the film Koondukkili (1954) , which may go with this post. Deepali celebrations on the street. Can you identify the corresponding Hindi tunes?
https://www.youtube.com/watch?v=e2aSjnMWuQA
Thank you Ranganji.
Ranganji,
After reading the post and the comments, mainly by Venkataraman ji, I can’t think of any additions.
Excellent post
Enjoyed it a lot.
Anup
🙂
Venkataramanji @12,
Your comments are always very enlightening. About your poser at the end: The tune seems to be inspired from Hariyala sawan dhol bajata aya from Do Bigha Zameen (1953), though there is a lot of difference in picturisation.
Ms. Anita
Thanks very much for appreciation of the post. I concur with your observations about the relevance of this genre of songs forming part of the plot of the movie. I recollect another movie Kali Topi Lal Rumal (1959) in which Kum kum by her seductive dancing distracts the attention of the hoodlums guarding the enemy’s den so as to enable the hero and heroine to enter the den surreptiously in search of evidence or so. The song is created by the combination Chitragupt/Majrooh Sultanpuri – Dhaga dhaga vei vei
https://youtu.be/HPsKskqcDkw?t=23
I checked up on the other film – Musafir (1957). Hrishikesh Mukherjee debuted as director and Keshto as an actor. If you look at the list of actors, it looks like a page from a list of vips – Dilip Kumar, Usha Kiran, Nirupa Roy, Nasir Husain, Kishore Kumar, Suchitra Sen. The song you posted is sung by Manna Dey and Shamshad Begum (Shailendra/Salil Chowdhury).
Venkataramanji
I am worried about your again doing a vanishing act from the blog by the way you have mentioned about the short life of butterfly. I saw the film – Koondukili in Singapore way back in 2006. Sivaji Genesan lusts after MGR’s wife, whom he had rejected when she was a spinster under the compulsion of his parents. Poor MGR is not aware of the attitude of his friend Sivaji Ganesan. Ultimately in a stormy night Sivaji Ganesan is blinded by a stroke of lightning and is rescued by a girl who was loving him. K V Mahadevan’s music was very good. Here is another good song – Sollavalloyo Kiliye
https://youtu.be/I9KR8lr31AE?t=41
The song you had posted is dangeously similar to the one from Do Beega Zamin (1953) – Hariyala Sawan Dhol Bajata (Lata Mangeshkar/Manna Dey – Salil Chowdhury
https://youtu.be/bcKm9OXY0bY?t=129
Anupji
Thanks for appreciation of the post. I do agree that Venkataramanji has done a superb analysis of the idea behind my post. If you can think of some apt song of this elk please do post them..
If D P Rangan ji is First class first pass, Venkatraman ji, too, is as usual, First class first pass.
I like the SEETA AUR GEETA song
Zindagi hai khel
Koi paas, koi fail
Khiladi hai koi
Anadi hai koi.
A quintessential Street song/ dance ( performance, rather ) will so many different entertainment elements thrown in.
…. with so many, not will so many.
If Venkatraman ji ‘s STREET DANCER is vintage, we also have
Street Dancer, I am a Street Dancer…
Govinda in ILZAAM, 1986.
STREET DANCER 3 D ( Yes, that’s a 2020 movie ).
Varun Dhawan and Shradha Kapoor perform well with several trained professionals.
One song on the streets is labelled as
Weapon 2.0!!!!
Sorry. STREET SINGER in Venkatraman ji ‘s comment, and not STREET DANCER.
At 18….
Koi pass ( not paas ) ….
Dr. Shetty,
I am stumped by your superlative praise of the post. Anyhow thanks for appreciation. In so far as Venkataramanji is concerned your assessment is faultless. Will try to get links of the songs you had mentioned.
Venkataramanji @5
I was able to trace you tube version of the song – Bhaire mene sung by Mohammad Rafi and Shamshad Begum. It is only mp3. and no video version (Pyarelal Santoshi/Gyan Dutt).
https://youtu.be/74Clw0Hf14M?t=36
Ranganji,
Quite an enjoyable post with an excellent write-up and a nice selection of songs.
Street dances have often played an integral role in the film’s storyline and their presence is seen right from the vintage times to the modern age of hindi cinema.
I believe, the two KumKum songs in Ujala (1959) belong to this category.
Lata – SJ – Hasrat
Tera jalwa jisne dekha
https://www.youtube.com/watch?v=AAo6bqtM6r0
Mora nadan balma na jane
https://www.youtube.com/watch?v=T5E-kQ13LDo
Here you have the lead pair watching a street dance from the balcony of the house…
Mera bandar chala hai sasural
Zindagi Aur Khwab 1961
Dattaram – Pradeep – Rafi, Kamal Barot
https://www.youtube.com/watch?v=zAIqzn6s6Io
Mere Lal 1966
LP – Majrooh – Lata
Payal ki jhankar raste raste
Indrani Mukherjee dancing in search of her lover…
https://www.youtube.com/watch?v=R9PzleTjGrY
Street dancing for a rescue mission…
Ankhen 1968
Ravi – Sahir – Asha, Manna Dey
De daata ke naam tujhko allah rakhe
https://www.youtube.com/watch?v=b9m-TMNbRCs
AKji @ 10,
Your inference on the evolution of street dance songs in Hindi films is interesting and worth pondering.
The earliest instance of Street singers/street songs, in Indian talkie films, that I could locate were the songs from Street Singer (1938).Indian talkies were at its nascent stage. I have not seen Kanan Devi dancing any of her films that I have watched. Dancing was not her forte. The film had enough scope for dances in outdoor locations.
During pre-1935 talkies period, songs were relatively static in which actors, cameras and musicians seemed literally tied to hidden microphones. In absence of technological means to ensure synchronization of independently recorded sound and visuals, Indian film makers most commonly recorded sound and visuals simultaneously, with cameras and microphones both sending signals the same strip of film. No system editing existed that would allow film makers to match sound and visuals in post-production so that recording images of actor’s bodily gestures , breathing and lip movements would appear synchronous with the recorded sounds. This was crucial factor in the recording of song scenes.
Out of studio/ outdoor shooting was almost absent. Because of these constraints, the genre of dances on which Ranganji has conceptualized this post was impossible to produce.
The mute or silent synchronizer newly introduced in Indian films in 1935 and first used in Dhoop Chaon (1935) provided the film makers the means to overcome this difficulty and to shoot Group dances, street dances and it likes. Yet, street dances under discussion here, took more time to emerge in our films.
Here I am presenting two instances of shooting song scenes;
The first one is pre 1935 scenario, hilarious, and satirical too, from the 1939 film Aadmi.
Premi prem nagar mein jaye by Shanta Hublikar and Shahu Modak, lyrics Munshi Aziz, music Master Krishna Rao.
Please watch from 1:15:08 to 1:29:45 to enjoy the full sequence.
https://www.youtube.com/watch?v=9-xhAtRe6sw
The second one is post 1935 scenario (sometime during the second war as broadcasted by the radio news reader in the background) presented in the film Bhumika (1977)
Tumhare Bina Ji Na Lage by Preeti Sagar, lyrics Majrooh Sultanpuri, music Vanraj Bhatia
Please watch from 00:47::41 to 00:51: 40
https://www.youtube.com/watch?v=1HkViAKb6l4
I am taking break here, will back soon.
Venkataramanji,
I have seen both the films. These Metafilms serve a useful purpose of taking us back to those days. Technology constraints may explain 1930s, but cultural constraints (men didn’t dance) continued for more time till we had dancing heroes. Thanks a lot for a new perspective.
AKji and Ranganji,
Resuming after a brief interval;
I had said in my previous comment that the mute or silent synchronizer introduced in 1935 provided the opportunity to shoot outdoor sequences and dances, but street dances took some more time to emerge in films.
During this period there were quite a few performers who would have been termed as item girls or boys in today’s parlance. Before the appearance of Mumtaz Ali & Azurie, I gather there was an actor/ dancer/singer by the name Shezadi Begum. The name Shezadi Begum evoked curiosity in me to know more about her, which led me to gather some information on her, though not very substantial.
Film scholar Usha Iyer writes:
“The lineage of Hindi film dancers can be traced from Azurie and (Shehzadi Begum before her) to Cuckoo (whom Azurie trained) to Helen (whom Cuckoo trained) to offer a corporeal history of Hindi cinema produced through the interlinked network of these remarkable dancing girls”.
Shezadi Begum, I gather, had a rich legacy and was the daughter of Fatma Begum. Fatma Begum who made her debut as an actor in the silent era (1922), seems to be the first female director and owner of a production house in 1926. She was active till 1938. Shezadi Begum too was active from the silent era to talkie times – 1926 to 1945. She was the sister of actors Zubeida ( leading lady of Alam Ara (1931) and active in films from 1924 to 1951) and Sultana Begum (active from 1922 to 1949).
Azurie was Hindi cinema’s star dancer in pre-independence India. She appeared in many film dances from 1935 to 1947. While little of her films survive, she left a strong imprint on film choreography.
Mumtaz Ali another great performer was active from mid 1930s to late 50s He appeared in few films in the 70s.
Most of the visuals of songs between 1935-1945 are not available and even fewer are the availability of street dance songs. I am posting three representative street dance songs of this period . There could be more.
First posting a song from the film Jhoola (1941), a Bombay Talkie Production, directed by Gyan Mukherjee. What is significant is here is we have both Mumtaz Ali and Shezadi as dancers.
Leela Chitnis looking down from the window, makes it appear that it was the dance sequence happening outside the house on the street or within the courtyard adjacent to the street.
Dekho humre raja ki sagai hai, by Arun Kumar and Rehmat Bano, lyrics Kavi Pradeep, music Saraswati Devi
https://www.youtube.com/watch?v=ShoWrsxiexE
The next one from the film Nirmala (1938), in my opinion is an ideal song for this post and makes it the oldest street dance song available as of now. Picturised on Mumtaz Ali and Meera, this film too was a Bombay Talkies Production directed by Frank Osten. I am not sure about the singers.
Jasoda tero lalna ri Shyam Ghanshyam by Arun Kumar and Meera, lyrics J S Kashyap, music Saraswati Devi
https://www.youtube.com/watch?v=ShoWrsxiexE
Finally, posting one of the rare available dance songs of Azurie, a great dancer of repute, from the film Rattan (1944). Though this songs too seems to be located on the open space within the compound wall, but it is beautiful dance, choreographed by Azurie. The male dancer accompanying Azurie was Krishna Kumar and I understand that Krishna Kumar was part of the production team and was trained by Azurie for this dance. The Malan and Mali of the neighbouring Bunglow dance on invitation on the occasion of Diwali while the main protagonist watch the dance with others.
O jane wale balamwa laut ke aa laut ke aa by Amirbai Karnataki and Shyam Kumar, lyrics D N Madhok, music Naushad
https://www.youtube.com/watch?v=g-uEddZrtJg
Venkataramanji,
This is scholarly. Some more information on Krishna Kumar, courtesy Richard Singer. Richard has made some great discoveries and, he is quite an authority on Vintage Hindi film dances (as well as dances from regional language films).
Krishna Kumar was part of the dancing team with his brother Surya Kumar. Surya Kumar was an eminent dancer/choreographer and trained many well-known choreographers. Krishna Kumar along with his brother was the choreographer in Aawara (1951), but he is said to have been murdered before the film was complete. Aawara credits him as Late Krishna Kumar. He was a dancer in many famous songs – Hans ke na teer chalana (Beqasoor), Le lo phooldani le lo (Jadoo) etc.
One more rare street dance song from TEL MALISH BOOT POLISH (1961) Aya Japan Wala sung by Rafi and Geeta Dutt filmed on Agha and a unknown girl .
AKji,
You wrote at the beginning of this post that Ranganji has written over 20 articles for the blog and he is into mid-70s.
The first part is not wrong but an understatement. On checking I found that Ranganji has written 34 articles in SoY, next to Ashok Vaishnavji who has penned 36 articles till now.
I remember Ranganji had mentioned somewhere that he retired from service in the year 1998. That means he must be over 80 years, witnessed over 1000 full moons “Sahasra Purna Chandroday” in his life time.
Just a thought. Nothing that would make any difference to the person or to this blog or to this post.
And a correction. @ 28 I have mentioned Majrooh Sultanpuri as the lyricist of the song Tumare bina jee na lage (Bhumika – 1977) instead of Vasant Dev. Vasant Dev penned all the songs for this films except one.
Venkataramanji,
Thanks a lot for drawing my attention to inaccuracy and understatement about Mr Rangan. I have corrected the introduction. This should give a clearer picture of his achievements and contributions for the blog. I am with you in wishing him a long and full life.
Dr. Deshpande @25 to 27
Thanks a lot for your appreciation of the post. Listened to all the five songs you posted. Most appropriate for the post.
Venkataramanji @28 & 30
Your comments have enriched the post beyond dreams. What a wealth of details you have brought to light about how the early days cinema looked like and the songs probably at that time. The song from Bhumika may look like a leap into previous age but the music is quite modern. Hats off to your digging abilities to spot such gems. the two links you posted @ 30 bring out the same song of Jwala (1939). Where is the song from Nirmala (1938). The song from Rattan is well known and thanks for posting it. I could never have traced it.
Ranganji @ 36,
Thank you very much.
Sorry for the error in posting the link.
Here is the correct link and repeating the details if the song.
The next one from the film Nirmala (1938), in my opinion is an ideal song for this post and makes it the oldest street dance song available as of now. Picturised on Mumtaz Ali and Meera, this film too was a Bombay Talkies Production directed by Frank Osten. I am not sure about the singers.
Jasoda tero lalna ri Shyam Ghanshyam by Arun Kumar and Meera, lyrics J S Kashyap, music Saraswati Devi
https://www.youtube.com/watch?v=MzCWl18xQRc
I am posting a street dance song which is an asymmetric duet as well.
Dunia Jawan Hai Dil Meharban Hai, Aise Mein Sanam Mil Jaaye Sanam Meri Qasam – Rail Ka Dibba (1953) – Mohammad Rafi, Gandhari – Lyrics: Shakeel Badayuni – Music: Ghulam Mohammad
The female dance (Cukkoo) sings the mukhada which is then picked up shoe-polish-maker (Sajjan). Cukkoo then gaily keeps dancing for the entire song.
Very deft use of harmonium can be seen here. Harmonium accompaniment used to be one of the mandatory feature of the street dance songs and music directors made sure that the harmonium pieces song stand out not only in the song but also among the peer songs as well.
https://youtu.be/zXhn0nf0Mag?si=3azJXsG9ycX8Guqd
Ashokji,
You have posted an excellent street song. The harmonium player struck a chord in me. We have seen him earlier in another fabulous song, Chaahe nain churao chaahe daman bachao pyar ho ke rahega from Aas (1953) and I thought some small time artistes, who were in great songs, were destined to remain anonymous. One link mentions the dancers are Chanda Bai and Om Prakash – this is, of course, different from the famous Om Prakash.
Chaahe nain churao chaahe daman bachao pyar ho ke rahega by Talat Mahmood and Lata Mangeshkar from Aas (1953), lyrics Shailendra, music Shankar-Jaikiishan
https://youtu.be/0iG9ugiO7HM?si=ylFGLRlxaxumf9-d