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Not Really Bollywood NOT REALLY BOLLYWOOD: A HISTORY OF POPULAR HINDI FILMS, SONGS, AND DANCE WITH PEDAGOGICAL APPLICATIONS FOR UNDERSTANDING INDIAN HISTORY AND CULTURE by SANJANA P. NAYEE A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in English Language Arts in the College of Education and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall 2012 Thesis Chair: Dr. Jeffrey Kaplan © 2012 Sanjana P. Nayee ii Abstract Contemporary fascination with ‘Bollywood’ proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as ‘Bollywood’, while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond ‘Bollywood’. This study is especially important because current U.S. demographics are undergoing a ‘browning’ effect yet a comprehensive method for understanding South Asian peoples and their cultures have been isolated to terrorist ‘breeders’, the model minority or as products primed for consumption. This thesis discusses the history of popular Hindi popular cinema, its changing methods of songs and dance and includes options of pedagogical applications within secondary level classrooms. In short, this thesis is an effort to highlight the similarities present amongst the differences that are consciously and unconsciously created or implicitly believed by the general population when attempting to decipher the many different components that exist across South Asian cultures, ethnicities, traditions, histories and identities. iii Dedication For my loving parents, Prakash and Bharti Nayee. Both of you are my pillars of strength and compassion. As my very first teachers, you each helped me realize my passion. Thank you for your unwavering faith and love for me. I would not be what I am if I did not have either of you. For my sister, Mikita. Thank you for being my best friend and translator. You’ve taught me how to accomplish my goals and appreciate that ‘all of this’ must count for something. For all my family members and friends across the regions and continents whose affectionate embrace wraps its arms two fold across borders and oceans. For the reflection against the shadow, who walks down this unfamiliar path that departs and blooms past the sound of departure. The tender young ears expand, enact, contort and finally awaken in the slumberous sleep of peace of mind. This life of an immigrant wants to sleep for just one asphyxiated breeze of wishful thinking. iv Acknowledgments My sincerest and most heartfelt thanks to my committee members: Dr. Kaplan, Dr. Becker and Dr. Canan A special thanks also to Dr. Roberts for applauding my work since day one. You are all my four at the peak of the mountain. You have guided and accepted my symbols as a project of my reflection; so that, others processing this story of mine that I’ve watched, assessed, and examined can share a love for all things that can be veiled behind the literatures of the reader, the text, and the visuals. Without your discerning understanding and continued patience throughout this endeavor, I would not have been able to put together this poetic and not so poetic compilation or complication of connections. Thank you for allowing me the opportunity to apply the rawest form of technology – films, as a medium of technology that commorients the good and the bad with extra dosages of spirit. v Table of Contents COMPLEX INTRODUCTIONS .................................................................................................... 1 NOBODY ‘GETS’ YOU ................................................................................................................ 4 BROWN .......................................................................................................................................... 9 THE INDIA .................................................................................................................................. 10 OBJECTIFIED, COMMODIFIED, AND APPROPRIATED.................................................................... 11 JUST ANOTHER MISUNDERSTOOD NICKNAME ................................................................. 15 POPULAR HINDI FILM’S PEDIGREE...................................................................................... 19 HINDI-URDU .............................................................................................................................. 19 CLASSICAL SANSKRIT BEGINNINGS ........................................................................................... 20 THEATRE FOR THE MASSES ........................................................................................................ 21 CREATING SIMILARITIES ............................................................................................................ 22 INTRODUCING THE FATHER OF INDIAN CINEMA ......................................................................... 24 AFTER PHALKE .......................................................................................................................... 25 THE ARRIVAL OF SOUND ........................................................................................................... 26 MOMENTOUS EVENTS, PLAYBACK SINGERS, AND SINGING ....................................................... 27 NEW ERAS ................................................................................................................................. 29 ALL THAT SINGING AND DANCING..................................................................................... 35 FUNDAMENTALS OF SONGS ........................................................................................................ 35 Function of Songs ................................................................................................................. 36 FUNDAMENTALS OF DANCE AND ITS STYLE .............................................................................. 38 SOUTH ASIA IN THE CURRICULUM ..................................................................................... 43 TEACHING SIMILARITIES THROUGH DIFFERENCES ....................................................... 46 MAACHIS (1996) – RETELLING HISTORY ................................................................................... 47 Reel #1 .................................................................................................................................. 47 vi Reel #2 .................................................................................................................................. 51 Reel #3 .................................................................................................................................. 53 Reel #4 .................................................................................................................................. 58 Reel #5 .................................................................................................................................. 61 Reel #6 .................................................................................................................................. 63 Reel #7 .................................................................................................................................. 65 Final Reel .............................................................................................................................. 69 Applying Maachis (1996) in the Curriculum.................................................................... 72 Lesson Plans for Maachis (1996) ................................................................................. 75 UDAAN (2010) – A NOVEL STORY ............................................................................................. 80 Reel #1 .................................................................................................................................. 80 Reel #2 .................................................................................................................................. 82 Reel #3 .................................................................................................................................. 83 Reel #4 .................................................................................................................................. 85 Reel #5 .................................................................................................................................. 86 Final Reel .............................................................................................................................. 90 Applying Udaan (2010) in the Curriculum ...................................................................... 93 Lesson Plans for Udaan (2010) .................................................................................... 95 CONCLUSION ........................................................................................................................... 100 REFERENCES ........................................................................................................................... 101 vii Table of Figures Figure 1 Conventional Styles of Song .......................................................................................... 37 Figure 2 Conventional Styles of Dance .......................................................................................
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