It may be the unique selling point of films across the border but dance in Lollywood has been reduced to nothing more than a brief diversion for appeasing the raucous frontbenchers in cinemas.
It may be the unique selling point of films across the border but dance in Lollywood has been reduced to nothing more than a brief diversion for appeasing the raucous frontbenchers in cinemas. Although Lollywood has given us many fascinating dance sequences in films such as Ghulam, Warrant, Bazar-e-Husn and Bilawal, it is hard to
recall any recent releases that match their standard. Nowadays, dances in Punjabi films are obscene from the get-go while the simple steps in Urdu language films lack the vigour that make them memorable.
Choreographers like Master Siddique, Hamid Chaudhary and Ashraf Shirazi were once the backbone of the music industry and elevated films they worked in with their professionalism and innovative ideas. At present, Pappu Samrat is amongst the few who are still enjoying some prominence by transcending into new age cinema and lending his skills to films such as Main Hoon Shahid Afridi, for which he won a Lux Style Award (pictured above). With 561 films to his credit, Pappu still continues to work in Lollywood. We caught up with him during a rehearsal at Evernew Studios to chat about the current scenario and future of choreography in Pakistan’s film industry.
Instep: Why are film studios deserted, Pappu?
PS: We have stuck to a formula, and that has sabotaged our progress.
Instep: How important is the choreographer’s role to the success of a movie?
PS: A choreographer’s role is as vital as that of a cameraman, musician or director. Would you believe that in the past whenever an exhibitor purchased a film, he was only interested in seeing the songs to judge the merit of the film? Plus, if a song has catchy
lyrics but the dance is not up to mark, then the song loses its market value. The best example is Anjuman whose dances were more popular than the stories of her films.
Instep: What’s your source of inspiration as a choreography?
PS: Well, I watch dance competitions from all over the world and pick out good moves that would work for us. Such innovative work adds beauty to my work. Usually I rehearse in the classical style.
Instep: Where does Pakistan’s film industry stand in comparison to Bollywood?
PS: We are at least 20 years behind their industry. We had to lay the foundation almost two decades ago, which we didn’t. Thus, the industry is now in shambles. Indians have an edge over us in every possible way. Indian producers go out of their way to meet the demands of the choreographer, while our producers try their best to save every penny. Time is another factor. Indian choreographers are given plenty of time to conceive the dance moves and rehearse them. Our situation is pathetic. Usually I’m asked to listen to the song on the set and told “Allah ka naam lekar shoro ho jao”. Rehearsals are unheard of. Indians also have the benefit of the latest technical facilities.
What kind of role or song is challenging for you to choreograph?
PS: Though every role is difficult, choreographing a sad song is particularly challenging. There isn’t a lot of room for movement, so we try our best to avoid making it boring.
What do you see the future of choreography in Pakistan and Lollywood?
PS: It’s not bright as the number of films is shrinking. Further, our law and order situation makes it even more difficult for the industry to progress. In India a number of TV channels are hosting dance competitions for children/teenagers to scour for talent. On the contrary, there is hardly any channel here taking such an initiative. However, for those who aspire to step in this field should know the functioning of the camera first as only that can help judge the best angle for dance. Some movements and steps look impressive at a distance while some at close range.
