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1) Historical and political dimensions of Bollywood since the mid-1980s; 2) Bollywood song and dance as cross-genre performances in the context of other media in the social and political spheres, especially in India and the United States; and 3) Bollywood song and dance as forms of popular culture and popular aesthetics in the diasporic global-South.
Gregory Booth is Assistant Professor of Music, University of Arizona. He is a member of the Global Bollywood: Travels of Hindi Song and Dance and the Global Bollywood Conference Committees. He has contributed to various publications and concerts involving Indian music and dance, including the Northwest Institute for Aboriginal Development, which is based at the University of Washington, Seattle.
Although dancing to a beat is a universal social phenomenon, I would suggest that there is a real sense in which this practice is all the more fully an expression of feeling when its song includes words. The words, together with the rhythm and the motion, are like extensions of a single thought. They have been made into a single whole; the two parts of the dance are considered to be inseparable. That is, both parts of the dance work together to create an aesthetic experience, which I would argue is not possible without the words.
By contrast, I would argue that dance to music has for a very long time had a unique aesthetic. It is more than the mere substitution of a rhythm for a beat. It is a distinctive combination of beat and words. The words are included in the rhythm of the music, rather than being added to it, as they are on the dance floor. The music is then what is heard not only in the beat but also in the words. This is, perhaps, best demonstrated in the Broadway musical. The sense in which one might speak of the words of a Broadway musical being incorporated into the music is also present in the Hindi film song, even though the current trend is to supplant the Hindi film song with Western popular music. But, of course, this trend is only a recent one. 827ec27edc