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Today, Bollywood dance has become a term used by film professionals, amateur performers, and audiences to refer to dances choreographed to Hindi film songs. The question of what Bollywood dance is, however, remains debated in both movement and text. In classes, Bollywood dance movement varies in quality and style from song to song, instructor to instructor, and choreographer to choreographer. Costume choices, facial expressions, gestures (as interpretations of sung lyrics), “jhatkas and matkas” (percussive “emphasizing] … pelvic movement”) (Kabir 2001, 189), wrist whirls, and turns, all set to film music could be identified as essential ingredients of “Bollywood dance.” Yet, this definition only begins to skim the surface of what constitutes Indian film dance, as Hindi films make up approximately one-third out of the more than eight hundred films produced in India every year (Nandy 1995). Popular films produced by language-specific regional cinemas include song and dances that often retain a degree of regional specificity. While it is important to recognize the similarities shared by these dance traditions, it is also necessary to acknowledge the definitional slippage underlying the collo quial use of the term “Bollywood Dance.” For the sake of clarity, I limit the term “Bollywood dance” to a description of choreography inspired by Hindi films. This includes combinations taught in dance classes and performed on stages. I use “Hindi film dance” to refer to song and dance sequences contained in the films themselves.
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