Over the years, as a leading actor of Hindi film industry, Hema Malini has set thousands of hearts aflutter by her sheer screen presence. Her dancing talent played an important role in creating the abiding image of dream girl. The Bharatanatyam danseuse who has also learnt Kuchipudi and Mohiniattam danced to several choreographed numbers in films like Mrig Trishna , Kinara , Lekin and Mehbooba which continue to be remembered. After a long innings on celluloid, she continues to dazzle on stage, with her ballets Durga , Parvati , Radha Krishna andDraupadi opening to house full shows. “Films and dance are my first love. While having had a long innings in film industry, I continue with my other passion dance,” says the actor. In the city to perform Parampara , her popular dance ballet, as part of the HCL Concerts, with her two daughters Esha and Ahana, Malini talks about the show, dance numbers in films and her children.
Excerpts:
On “Parampara”
I have been doing this show for the past 10 years with Esha and Ahana. It is a combination of Bharatanatyam and Odissi styles of dance. I will be performing some items in Bharatanatyam repertoire while Esha and Ahana will perform in Odissi. It will be followed by group performances in Odissi based on songs from Gita Govinda by Jayadeva and others.
Then the last number is Naari by Ravindra Jainji. It is about what a woman is all about. She is worshipped in many forms, as Parvati, Durga, Lakshmi, Saraswati, while in mortal form she epitomises sacrifice and valour in the form of Rani Padmavati and Jhansi Ki Rani. All this is juxtaposed with the position of women today. Still in many parts of India, when a girl is born today, the whole family gets upset and virtually starts mourning. In many cases, she is killed within a few hours of her birth. There are dialogues too in this piece. At the end, my daughters, representing the future generation, join me to assure that they’ll do their best in all fieldsand rise beyond the sky.
On teaming up with her daughters
Most of my shows are dance ballets such as Durga , Radha Krishna and Draupaudi . The next one I am planning is on Ganga. Being their mother I share a comfort level with them which is evident in the performance. In fact besides filial love, dance is another key link between us. To synchronise our styles in Parampara , we have many elements and bols from Bharatanatyam and Odissi.
Now after marriage, they have started dancing again, I am encouraging them to do so. We are planning many more performances which will be janaranjak — of interest to general public but with a classical base.
On introducing them to dance
I always wanted them to take up one or other form of dance. I am happy they chose Odissi. Initially, I had to groom them while later they developed a liking and pursued it further. The girls took to it naturally. Dharamji was very supportive as he found dance very aesthetic and appealing.
On importance of dance in life
One must pursue some kind of art form, be it dancing, painting, music or learning an instrument. An art form keeps you grounded, connects you to your culture and heritage. For example, learning classical dance makes us aware of our gods and goddess, several Puranic tales, while giving us a spiritual connect. Dance impacts our attitude, stance and confidence level too. Besides, one learns other languages too. Like many dance compositions are in Telugu so in order to understand their meaning you get to know the language. I learnt so much of Sanskrit thanks to Bharatanatyam.
On dance being integral to Indian films
Dances have always been an integral part of films. There were several actors like Vyjayanthimala, Padmini, Asha Parekh, Waheeda Rehman and others who were very good actors and dancers. The choreography in past was based on classical dance genres and these actors got many chances to showcase their talent, with audience accepting it. I came in during the transition phase when new dance forms were coming into films with classical format taking a back seat. In films, my dancing talent and training was underutilised. In fact, I often wonder why I did not get more dance-based films.
On the films where she got a chance to showcase her dancing talent
I distinctly remember Mehbooba starring Rajesh Khanna. There were many dance numbers in them like “Gori Tori Paijaniya”. At that time I was learning Kuchipudi and suggested including dancing on the plate in the film which was done. Likewise, I danced in the film with bells on my hands. The dance had a lot of Kathak elements in them. In fact Gopi Krishnaji trained me and he was present on the sets when we shot the dance numbers.
In Kinara too I had a lovely Kathak based number. Same too in Lekin , where I had a guest appearance and danced on “Jhoote Naina Bole Saanchi Batiyaan” based on Kathak. Even today when I see my dance on the song “Navkalpana” in Mrig Trishna , I feel so good. It was shot in just two nights.
On how classical training helped her
It was of great help as it made picking up the nuances of the choreography easy. Having said that I would like to add that classical training restricted me, as it didn’t allow me to go beyond structured movements . In fact, many times the choreographers told me Apne ko loose chodiye . I used to wonder how to become loose (laughs).
On her favourite dancer-actor
I would say Vyjayanthimala is the best even today. You see her “Main Kya Karoon Ram Mujhe Buddha Mil Gaya” in Sangam . A fantastic dance piece with beautiful movements. Being a classical dancer, she did it with so much ease. Among today’s generation, I liked Deepika’s dance in Goliyon Ki Raasleela Ram-Leela and Bajirao Mastani , both directed by Sanjay Leela Bhansali. It is not that audience do not like good dance performances. What we need are good directors like Bhansali to shoot them.
