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Bold For television shows Saroj Khan says it’s purely Bollywood dance where one has to shed inhibitions

Saroj who captured the nation’s imagination with songs like “Ek Do Teen”, “Dhak Dhak” and “Kaate Nahi Kat Te” with her imaginative dance steps says these days choreography in Hindi films lacks originality.

“If the choreographer depends on costumes to seduce the viewer, he is not doing his job. The likes of Bosco Caesar watch an international music video and copy it step by step. Where is the originality?” asks Saroj, never known for mincing words.

She continues, “My steps have been sensual but never vulgar. I have trained under Master Sohan Lal, who gave us one of the best choreographed songs ever, the teasing ‘Hontho Pe Aisi Baat’ (Jewel Thief).”

Talking of early days, Saroj says she had a deprived childhood. Coming from Pakistan after Partition, Saroj had to start working early to support the family. Her father changed her name from Nirmala to Saroj so that the relatives did not know. “Dance was my first love even when I was two. I started as a child artiste and graduated to dance assistant and finally a dance master. I composed my first song at the age of 13 when Sohanji allowed me to do ‘Nighen Milane Ko Ji Chahta Hai’ from Dil Hi To Hai.”

We think that she is close only to Sridevi and Madhuri Dixit but Saroj says she was equally friendly with Vyjayanthimala, Sadhana and Mumtaz in their hey days.

“In fact, my first break as a choreographer came when Sadhana decided to direct her home production Geeta Mera Naam. She refused to work with anybody else.”

But Madhuri Dixit didn’t seem as indulgent, as in Aaja Nachle she worked with Vaibhavi Merchant. Saroj isn’t feeling bitter. “She didn’t produce the film. There is no ill will between Madhuri and me. These days people work as a team and Vaibhavi has been part of Yash Raj team for some time like I was at one time when films like Chandni happened.” Talking about her chemistry with Madhuri, Saroj says she gave Madhuri something new every time.

“Songs are such an integral part of our films that the choreographer has to be very imaginative to be successful. You can’t repeat yourself even if you feel tempted to because the moment a song becomes a hit, girls in the neighbourhood start copying it in functions. On her part Madhuri trusted me fully. She never said this step won’t work with my image be it was ‘Dhak Dhak’ or ‘Mera Piya Ghar Aya’.”

On male actors taking dance very seriously, Saroj says this has made the job of choreographers very easy. “Earlier half of the energy was used on teaching the likes of Anil Kapoor how to shake a leg,” she quips.

Coming back to her television show, Saroj, who has just been nominated for the best choreographer for the Screen-Star awards, is not promising to teach classical dance steps. “It’s purely Bollywood dance where I would try telling people to shed their inhibitions as I feel anybody can dance. There are people who can move their hands and abdomen but their feet refuse to move. I have special steps for them so that they don’t feel embarrassed. Trust me there are many Bollywood actors with a similar handicap!”

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