While film songs try to capture that elusive mass appeal with bold and striking steps, they often waddle into the ‘vulgar’ territory. Where’s the line and who draws it?
Where do we draw the line?
Have Telugu item songs lost the plot? The recent furore over ‘Dabidi Dibidi’ song from Daaku Maharaaj points to a disturbing trend where the purpose of these songs is solely to titillate the audience rather than being a plot device. The dance moves in the song, where Balakrishna is seen slapping the rear of Urvashi Rautela, have been called vulgar by netizens. Last year, a similar controversy arose over ‘Sitar’, a song from Mr Bachchan. The step involving actor Ravi Teja’s hands on Bhagyashri Borse’s rear was widely criticised. In Pushpa 2 too, a brilliant dancer like Sreeleela was given steps that focussed more on her body than her dancing prowess. Anyone who has seen her dance in ‘Kurchi Madathapetti’ from Guntur Kaaram knows that the actress is a powerhouse dancer if given the scope to perform. Actresses like Sai Pallavi have proved that an actress’ dancing skills can be presented without resorting to voyeurism.
While filmmakers argue that special songs need some glamour quotient, where do we draw the line? How do choreographers come up with these steps? We ask a few experts about how to maintain a balance between creativity and vulgarity.
Director has the final word
Sharing his thoughts, Tollywood choreographer Aata Sandeep says, “To tell the truth, I did not like the ‘Dabidi Dibidi’ moves when I first watched the song. Balakrishna sir is a legendary actor, and also a politician. I felt the moves degraded his personality. The steps were borderline disrespectful for women too.” Explaining how choreographers formulate steps for a song, he says, “When a choreographer shows the steps of a song, it is watched by the captain of the ship, the director.”
Every choreographer will give a demo of the dance moves to the director for approval. The choreographer follows the director’s directions. For example, if the director wants ‘massy’ steps, the choreographer will follow that.”
Are item/special songs about sex appeal only? “No, we do not focus on sex appeal only. Generally, the actors have certain rules, beyond which we cannot choreograph. We also have the censor board, so we cannot afford to be too vulgar. We have to keep the rules in mind. We will mostly focus on the song’s lyrics. At the same time, we try to portray the heroine in a glamorous way. In ‘Dabidi Dibidi’, I think they were going for a Moroccan theme and maybe incorporated the steps accordingly.”
“Right now, we need to be more careful about Tollywood’s image as we are making waves globally. The industry has won Oscars and people are looking at what we have to offer,” adds Sandeep, who has choreographed songs for movies like Patang and Solo Boy.
The focus is on objectification
The landscape of South Indian film music has, unfortunately, witnessed a marked decline in the quality of its lyrics. This practice seems to stem from a misguided belief that catchy tunes can compensate for lackluster lyrics. Such an attitude not only undermines the art of songwriting but also perpetuates a cycle of mediocrity.
The deterioration of lyrical quality in South Indian cinema is closely tied to the storytelling paradigms that dominate the industry. Many narratives glorify hyper-masculine heroes, portraying them as larger-than-life figures while relegating female characters to mere decorative roles. These women often serve little purpose beyond providing glamour or participating in suggestive dance numbers, reinforcing stereotypes of toxic masculinity. The lyrics accompanying these performances frequently objectify women, reducing them to mere symbols of sexuality and physicality, often delivered through crass and vulgar expressions.
This troubling trend is compounded by the fact that many leading actors, some of whom have been in the industry since the 1980s and 1990s, continue to perpetuate these outdated tropes. While the faces of the heroines may change, the underlying themes and derogatory lyrics remain stubbornly intact. — Girish Wankhede, trade analyst — As told to Puja Talwar
While filmmakers argue that special songs need some glamour quotient, where do we draw the line? How do choreographers come up with these steps? We ask a few experts about how to maintain a balance between creativity and vulgarity.
Director has the final word
Sharing his thoughts, Tollywood choreographer Aata Sandeep says, “To tell the truth, I did not like the ‘Dabidi Dibidi’ moves when I first watched the song. Balakrishna sir is a legendary actor, and also a politician. I felt the moves degraded his personality. The steps were borderline disrespectful for women too.” Explaining how choreographers formulate steps for a song, he says, “When a choreographer shows the steps of a song, it is watched by the captain of the ship, the director.”
Every choreographer will give a demo of the dance moves to the director for approval. The choreographer follows the director’s directions. For example, if the director wants ‘massy’ steps, the choreographer will follow that.”
Are item/special songs about sex appeal only? “No, we do not focus on sex appeal only. Generally, the actors have certain rules, beyond which we cannot choreograph. We also have the censor board, so we cannot afford to be too vulgar. We have to keep the rules in mind. We will mostly focus on the song’s lyrics. At the same time, we try to portray the heroine in a glamorous way. In ‘Dabidi Dibidi’, I think they were going for a Moroccan theme and maybe incorporated the steps accordingly.”
“Right now, we need to be more careful about Tollywood’s image as we are making waves globally. The industry has won Oscars and people are looking at what we have to offer,” adds Sandeep, who has choreographed songs for movies like Patang and Solo Boy.
The focus is on objectification
The landscape of South Indian film music has, unfortunately, witnessed a marked decline in the quality of its lyrics. This practice seems to stem from a misguided belief that catchy tunes can compensate for lackluster lyrics. Such an attitude not only undermines the art of songwriting but also perpetuates a cycle of mediocrity.
The deterioration of lyrical quality in South Indian cinema is closely tied to the storytelling paradigms that dominate the industry. Many narratives glorify hyper-masculine heroes, portraying them as larger-than-life figures while relegating female characters to mere decorative roles. These women often serve little purpose beyond providing glamour or participating in suggestive dance numbers, reinforcing stereotypes of toxic masculinity. The lyrics accompanying these performances frequently objectify women, reducing them to mere symbols of sexuality and physicality, often delivered through crass and vulgar expressions.
This troubling trend is compounded by the fact that many leading actors, some of whom have been in the industry since the 1980s and 1990s, continue to perpetuate these outdated tropes. While the faces of the heroines may change, the underlying themes and derogatory lyrics remain stubbornly intact. — Girish Wankhede, trade analyst — As told to Puja Talwar
( Source : Deccan Chronicle )
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