Desire and Repetition: The miniaturisation of the Hindi film song

Fourth Asian Women’s Film Festival 2008 “Insights and Aspirations”

By Shikha Jhingan

Scene from Shikha Jhingan’s  ‘Born to Sing’

Let us examine the contemporary popular Hindi film songs and their circulation through the convergence of new media technologies. How has the emergence of global television and digital music changed the aesthetics, the cultural codes and the formal structure of the Hindi film song by mobilizing new circuits for the consumption of popular music? In fact, the use of repetition and heightened codes of visuality have perhaps given new forms of identity to a large number of young girls on ‘realty shows’ based on popular film music.

In recent times, one big change in the structure of the song has been the use of a ‘hook line’ as a repetitive structure. This clever use of the hook line allows the song as a musical category to evoke a discernible response from the body. Popular songs like Nach Baliye (Bunty Aur Babli), Dhoom Machale Dhoom (Dhoom), Mauja hi Mauja (Jab We Met) rely on the repetition of words or cluster of words and rhythmic patterns that is described as the hook line of the song. This metonymical formulation completely undermines the conventional structure of the film song thus opening up the song for an ‘afterlife’ for its circulation in the global circuits of value and exchange. The repetitive use of the hook line through television promos and trailers, reality shows, award nights, ring tones and advertisements of mobile phones and telecom service providers, leads to obfuscation of the original song and its emotional appeal. In this new formulation the film song not only gets unhinged from the narrative of the film but is primarily meant to evoke a response from a dancing body.

In analysing Reality Television and talent shows based on music, one would like to draw attention to the democratisation where it is possible to have greater access to these technologies not just as consumers but in recreation of the musical mode. What is interesting here is that the accent here is not just on being a good singer but a great performer. The mobilization of a unique voice along with a great performance, an energetic dancing body, go into this new form of dispersal. The creation of a certain persona, with the help of props, dress, hats, belts, gestures and other visual signs create the uniqueness of each singer.  So music is providing a basis for the creation of an identity. The emphasis is on showcasing ‘your own voice’ in sharp contrast to the earlier phase of remixes and cover versions which relied entirely on imitation or the recreation of an ‘affect’. What is even more interesting is that there is a blurring of boundaries between music and dance, between the singer and the listener, between rehearsal and performance between sound and music and between voice and sound.

Shikha Jhingan, an IAWRT member, is a Professor in Media at Lady Sri Ram College , New Delhi

Jodha Akbar – The Film
Seema Bawa analyses this highly controversial film with a historical perspective

The historian in me could not resist having a dekko at a historical romance based on a character such as Akbar, who indeed is a larger than life figure of world history. A man of vision, statesmanship and great depth Akbar was the Insaan-e-Kamaal of his era. Hrithik Roshan as the young Akbar indeed does not disappoint even though in terms of physique he does not match the descriptions of the historical Akbar. The scenes depicting his valour, strength and prowess in battle, though competently performed are not exceptional. It is the sheer regalness of his bearing and the small details such as the fluid and effortless movements with which he sits on the throne, an act which requires immense theatrical perfection, that help him make the character his own. The scene showing Akbar getting into a trance while listening to mystical music of Sufi dervishes is authentic to the sources and enacted with great felicity. Aishwarya Rai as Jodhaa is right out of Mughal-Rajput miniatures paintings in her stance, apparel, ornaments and indeed her entire external persona.

The character of Akbar is better delineated because of the wealth of source material available, much of which is hagiographic in nature. That is not to say that the counterview was not available as is seen from the killing of Adham Khan Akbar’s foster brother. Other aspects of Akbar’s prowess such as his exceptional skill as a bare-hand fighter, his dueling an elephant, his consulting philosophers of other faiths; all having basis in historical sources ring quite true in the film.

Jodhaa, on the other hand, being largely a figment of the writer-director’s imagination, has been conceptualized with less depth. The single character trait that has been reiterated is her spirit, and her spirited resistance to patriarchal values which while anachronistic to the period depicted, is also quite tedious. Her depiction as a Rajput woman of honour and integrity is overstressed.

As for the characterization of secondary characters, unlike Lagaan, in Jodhaa Akbar this aspect has been largely ignored. Instead we have stereotypes paraded as Rajput Ranas, and good and faithful courtiers such as the Khan-i-khanan and Todar Mal versus fanatical ulema and scheming relatives. The entire structure of Mughal aristocracy, the mansabdars, so significant for the actual and visual construction of the Mughal era, is overlooked.

The film succeeds in reconstructing the sense of architectural spaces of the grand Mughal era, especially the Diwan-i-Aam. The battles and the epic scale are well done even though the armies rush towards each other rather than in formation.

The music of AR Rahman goes well with the film but does not stand out. The background score though is excellent.

The film is at one level an elaborate seduction of the spirited though mono-dimensional Jodhaa by a rather desirable Akbar. The plot is entirely based on coitus-interuptus, which is interrupted ad-nauseum where the consummation is heartily to be wished for so that one can finally go home. The sexual tension is very well structured and indeed works very well but for the length it has been stretched out. The political intrigues and the romance appear to be yoked together by violence and are not linked organically. Indeed they should have been two separate films.

Perhaps the entire relationship of Jodhaa and Akbar should have been read within the context of sexual politics that underlay the harem of the Mughals, which could have served as an interesting back drop to the delineation of Emperor Akbar, arguably the greatest monarch and statesman this land has seen. We know that Akbar had at least two wives (besides many concubines) before he married the Rajput princess. The Rajput princess, whatever her real name may have been, would have been competing with them for her Emperor’s favours and allusions to the same may have made interesting viewing. Instead the harem intrigues center around her conflict with Maham Anaga Akbar’s foster mother whose importance had waned by the time Akbar attained adulthood.

The film is largely didactic in that it addresses issues of shared cultural heritage and communal harmony without appearing to preach. The historicity of Jodhaa/ Harka or Jia Bai is irrelevant to the film.

Along with Dev Anand, Waheeda Rehman, Shahrukh Khan and Manisha Koirala, Manohar Khushalani was invited, by the Indian Embassy, to Kathmandu to attend the celebrations of 50 years of Indian Cinema as a Columnist of Pioneer, where he ran a column called “Footlights’. The clip of the review published on 2nd May, 1997 is shown in the attachment. Here is a small extract from the 7 column spread that Pioneer gave his piece.

Probably the best public relations exercise between two country is to establish a people to people interaction through cultural activity.  Raj Kapoor was probably the best Indian Ambassador of good will for the soviet Union. Nobody perhaps known it better than the snake Indian Ambassador to Nepal. K.V. Rajan.  By organising a festival of Indian films at Kathmandu he proved that what Raj Kapoor did at USSR Dev Anand can do in the Land locked Himalayan State. The incredible love and affection of Nepalese common men for Indian actors was brought home by the adulatory response to four Indian  sorry three Indian and one Nepales star; Waheeda Rehman, Dev Anand, Shahrukh Khan and Manisha Koirala.

“I am very fond of nature & open spaces.  In Bombay  it was difficult. What I noticed was that when they retired from cinema long ago, my son was still in school. When someone asked him, where the milk came from. He said Mother Dairy. That’s when we decided to move to a Farm and expose our child to that aspect of life as well.”

Waheeda Rahman who is leading a more or less retired life & last asked nearly seven years ago is willing to perform only of she gets a central role. “Unfortunately most of the roles available for performers of my agee are stereo typed roles of Aunts or mothers, I would rather not perform than take up such roles”

Waheeda shifted bag & Baggage to a farm house in the outskirts of Bangalore because of she put it her children were not even aware about how the milk come they only knew that it come from a machine in the milk booth. Being a lover of nature she preferred to shift close to it….

“I am very fond of nature & open spaces.  In Bombay  it was difficult. What I noticed was that when they retired from cinema long ago, my son was still in school. When someone asked him, where the milk came from. He said Mother Dairy. That’s when we decided to move to a Farm and expose our child to that aspect of life as well.” She told me, this too when we were flying later over the everest and I was seated next to her. Both of us were admiring the pristine beauty of nature

Dev Anand despite his severely years displayed such energy and enthusiasm that he would put many younger people to shame. He said that he was greatly in love with this Country and would never forego an opportunity to come to Nepal. He had always advocated that this Country was a good location of or shooting films but not many producers were willing to come due to difficulties of terrash & communication. Dev to probably the most active amongst the stars of his generation. Right now he was making a film in which he was acting as himself © Dev Anand as the actor. A teen age female fun follows him around the counting observing him as an action. She finally manges to meet him. The story appeared to be similar to Guddi.

Later at a function to felicitate the stars. Dev held the audience spellbound with his half hour long talk which was special with experiences of Nepal, tales of the role of the King in shooting of his films and personal advice on how to lead a dynamics life like him.

Manisha Koirala’s entering was greeted by compliments to her beauty and brains in Dev’s inimitable style. The local scribes were most comfortable with Manisha in her native tongue. Ms Koirala had no plans to act in a Nepali film in the near future she left it vaguely to events and occassions.

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