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Sarojji, you were a legend and one of a kind. A heartfelt salute for countless moments of cinematic joy and moves; for making a mark as a female choreographer in Hindi cinema – despite the odds stacked against you.

Saroj Khan’s life and 60 plus years of career were defined by her natural talent and love for dance – she transformed into an ethereal being when she put her dancing shoes on. A classic rags to riches story, her professional and personal journey was filled with pure love, dedication, hard work, passion, and candor.

While her aptitude for dance gave her everything, it also took a lot away. Sexism, exploitation, struggles, barriers… she didn’t let any of that stop her. Over the years, she worked with a variety and generations of stars from Sridevi and Dharmendra to Shahid Kapoor and Aishwarya Rai.

Saroj was born in 1948. Her parents, affected by partition, had fled from a wealthy existence in Pakistan to poverty in India, hoping to build a new life. At three years of age, she entered the film industry as a child actor, fending for her family, when her mother discovered her love for dancing by accident. To avoid the stigma of working in films, her name was changed from Nirmala Nagpal to Saroj.

At 8-9 years, Saroj had outlived her career as a young actor and turned to background dancing for a living. She had no formal training but picked up dance movements easily and quickly. In those years, as a group dancer, she identified herself as Anglo-Indian, had short hair, and mainly did Western styles of dancing –  jive, rock and roll, and acrobatics.

Her transition to Indian dancing was difficult. Western dancers were looked down upon by the classical-bent dance veterans. Nevertheless, she turned a chance to work with B Sohanlal into an opportunity, when she was called to perform acrobatics (Spot Saroj in video below at 1:42-1:441:52-1:58 and 2:04-2:16)  as a group dancer in Vyjayantimala’s version of Eeena Meena Dika from Aasha.

Saroj changed her appearance from an Anglo-Indian to Indian to learn from Sohanlal, it marked her big break, and she became a part of his troupe, first as a group dancer and later as an assistant. At 13 years of age, she married her 38-year-old mentor, who had shaped her as a dancer. He was married with children but she was unaware and much in love. At 14, she gave birth to their first child. Her association with him lasted 5 odd years in which she learnt the finer aspects of dance and also discovered her knack for choreography. When he was away for a song shootingPL Santoshi (Rajkumar Santoshi’s father) inspired her to choreograph Nigahen Milane Ko Jee Chahta Hai for Dil Hi To Hai.

When Sohanlal refused to give their child his name, she walked out. It was the start of a long struggle but also finding her own feet as a solo professional. “I wanted to live my life as I wanted to live, without him,” she had said at a Ted Talk event. Those were big words from a young teenage mother, who also had to break professional ties with her ex-husband. Despite what happened, she continued to respect him and remained grateful for the learnings and livelihood. Not a justification but it gives context to her controversial casting couch comments in 2018. After the break-up, she went back to working as a group dancer and assistant choreographer for other lead choreographers. She was a good talent to hire, she could be the proxy lead whenever needed, without the money or credit.

Accolades and fame were still elusive despite support from actress Sadhana who gave her a break as a choreographer in her directorial venture Geeta Mera Naam (1974)Her talent wasn’t enough, she was still stuck. “I worked very hard – day and night – but I was not popular. Nobody accepted me as a choreographer, as I was female. That time, the rule was that only men can be choreographers or dance masters, as they were called then,” she recalled.

The road to A-grade success began with the Hema Malini-Dharmendra starrer Pratigya (1975) but the journey to popularity was still slow. Around that time, she also remarried second husband Sardar Roshan Khan and took some years off to focus on her family. She returned with Raj Babbar’s debut movie Jazbaat (1980) and this time the path was smoother. She was accepted whole-heartedly as a choreographer in the industry. Top directors like Subhash Ghai, Yash Chopra, Sanjay Leela Bhansali, Mani Ratnam lined up.

Saroj was also known for her penchant for perfection and had a temper to unleash on anyone who didn’t meet her high levels. Though she loved actors who knew their dance, she also enjoyed guiding non-dancers like Jackie Shroff, Anil Kapoor, and Sunny Deol. Actors had to rehearse before they arrived on set. Madhuri rehearsed Ek Do Teen for over two weeks. Saroj demanded that Sanjay must rehearse Tamma Tamma (Thanedaar) as a signing condition. He did. She added a touch of femininity to Hrithik’s steps in Bumbro (Mission Kashmir).

Kareena fondly remembers Saroj telling her, “Perrr nahin chala saktiii to kam se kam face to chalaa!” (if you can’t work your feet, at least work your face!).

Saroj was hired to train Madhuri, who had done a few movies but hadn’t succeeded as a lead heroine yet. It won’t be an exaggeration to say Madhuri owes her success to Saroj Khan.  Ek Do Teen handed her stardom and a career on the platter. Ek Do Teen was out there and fun compared to the classic and subtle beauty of Oh RamjiMadhuri aced both.

There was a marked difference in Madhuri’s persona on screen post the Saroj influence. The oomph, confidence, and attitude that Madhuri imbibed in both her acting and dance performances were unmistakable learnings from Sarojji.

Saroj had a long association with Sridevi as well, whom she considered her daughter. There is no doubt that her partnership with Madhuri was more fruitful commercially but some of her most refined and creative pieces were with Sridevi.

They created wonders in the cult classic Mr. India with Hawa Hawai. I remember watching it in a seedy Mumbai theatre and being blown away. It was one of those surreal cinematic experiences where your senses are shot and the only way to get over it was to watch the movie many times over.

Ek Do Teen brought other achievements for Saroj. She bumped up her price, benefiting her assistants, and made sure choreography was valued for its true worth. She was proud of the students she gave the industry. Her unavailability propelled two of her assistants into success. She requested prodigy Ahmed Khan to choreograph Ramgopal Verma’s Rangeela (1995) which won him a Filmfare award for Rangeela Re. Farah Khan stepped in to do Pehla Nasha when she couldn’t adjust her dates for Jo Jeeta Wohi Sikander (1992).

Sarojji‘s style was a stamp, she dominated the 90s and left her impact well into the 2000s.

Not that Saroj Khan needed awards to prove her worth but hopefully they were sweet revenge for having to stay under the radar for decades despite her formidable talent. Portrayed with dignity and grace, her women could still be sensual and defiant within the traditional mold. As Kareena said aptly in her tribute to Sarojji: dance and expression will never be the same for us actors. I would add Hindi cinema to that. It’s an end of an era. Or perhaps, many eras.

Hamida Parkar is a freelance journalist and founder-editor of cinemaspotter.com. She writes on cinema, culture, women, and social equity.

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