Showing posts with label Vijay Ganguly. Show all posts
Showing posts with label Vijay Ganguly. Show all posts
Without Tamannaah Bhatia, Aaj Ki Raat wouldn’t have reached where it has-Vijay Ganguly
2:43 PM
Tanvi Trivedi (MUMBAI MIRROR; August 17, 2026)
Winning the National Award for choreographing Aaj Ki Raat from Stree 2 is a milestone Vijay Ganguly says he never expected. While he hoped the song would connect with audiences, he did not anticipate it becoming one of the year’s biggest party anthems.
“When we choreograph, we always hope our work reaches the maximum number of people. But every song has its own fate. Sometimes you’ve done great work, but the song gets cut from the film or never reaches people. For instance, we had shot for a very beautiful song in Chhaava with Vicky (Kaushal) but in the end it got edited. With Aaj Ki Raat, we knew we had done a good job, but we had no idea it would connect with so many people. We just did our job and hoped it worked. And it did.”
He believes the song’s appeal came from its music and the way the choreography carried the same energy visually. “The audio was so good that everyone — from children to older people — connected with it. Once kids connect with a song, it becomes huge because they keep playing it everywhere.”
Ganguly also credits Tamannaah Bhatia for the song’s success. “Tamannaah definitely played a huge role because what people ultimately see is the performer. If she hadn’t performed the way she did, the song wouldn’t have reached where it has today. The biggest credit goes to her.”
A national award that adds to the family legacy
Vijay’s father, filmmaker Anil Ganguly, had won two National Awards. “My father had won two National Awards Best Story for Kora Kagaz (1975) and Best Feature Film in Hindi for Tapasya (1976). This is the third one coming into the house, but my first. It’s the biggest honour in the country.”
Ahaan Panday wraps up 2-month UK schedule of his next with Ali Abbas Zafar
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Sources say ‘Saiyaara’ star Ahaan Panday, who plays a gangster in his next with Alli Abbas Zafar, has wrapped an extensive two-month UK schedule with multiple song shoots
Upala KBR (MID-DAY; August 1, 2026)
If July 2025 saw Ahaan Panday break out in Bollywood with the blockbuster Saiyaara, this July saw the young actor almost completing his second film. mid-day has learnt that last week, director Ali Abbas Zafar called it a wrap on the 60-day United Kingdom schedule of the yet-untitled action drama. In the last leg, the unit filmed a romantic song and some dramatic scenes with Panday and leading lady Sharvari in Birmingham.
Also starring Bobby Deol, Jimmy Shergill, and Aaishvary Thackeray, the film sees Panday portray a gangster.
A source said, “In the past few weeks, they shot three songs. One was a solo track of Ahaan shot at Town Hall in Birmingham. It’s a festive number that sees the lead actor dancing alongside young girls doing the hula hoop. Two romantic songs with Ahaan and Sharvari were also filmed at different locations, including Birmingham, Coventry University, Penrith, and Carlisle. Vijay Ganguly choreographed all three songs.”
The romantic action drama will trace how Panday’s character goes from a young boy to a dreaded gangster. The source added, “Aaishvary plays the antagonist, while Bobby is Ahaan’s mentor who takes him under his wing when he is young.”
Vijay Ganguly on his National Award win: "I was just numb for five minutes"
9:25 AM
Tanvi J Trivedi (BOMBAY TIMES; July 24, 2026)
Vijay Ganguly says he never saw coming. The choreographer, who once had no interest in dancing, admits he is still processing the honour.
“I was just numb for five minutes. I couldn’t believe it. When messages started pouring, I realized, okay, this is really happening. I’m still processing it,” he says.
The award is especially meaningful for Vijay as it continues a family legacy. “My father had won two National Awards (Anil Ganguly received Best Story for Kora Kagaz and Best Feature Film in Hindi for Tapasya). This is the third National Award coming into our home. It’s a fantastic feeling,” he adds.
Ironically, Vijay’s journey into dance began almost by accident. “Growing up, I was never interested in dancing. I would only perform during Durga Puja celebrations. In 1999, just for fun, I enrolled in a Shiamak Davar dance class. I realized I really enjoyed it, and the rest is history,” he shares.
Looking back at Aaj Ki Raat, Vijay says he had hoped the song would connect with audiences but never imagined it would become one of the year’s biggest party anthems. “We knew we had done a good job, but had no idea it would connect with so many people. We simply did our job and hoped it worked. Everyone, from children to older people, connected with it.”
He is also quick to credit Tamannaah Bhatia for bringing the choreography to life. “Tamannaah definitely played a huge role because, ultimately, what people see is the performer.”
It’s just love: Vijay on his mother Rajani Ganguly’s viral dance reel
His mother, Rajani Ganguly’s dance reel on his song Shararat from Dhurandhar recently won hearts online. Vijay says the family never expected it to go viral. “I don’t share too many reels, but this one was special. Mumma loves dancing and she’s a very good dancer. We always feel people should see her dance. Whenever one of my songs becomes a hit or excites her, we ask her to dance and we post it. It’s just for fun. It’s not social media content that we expect will go viral. It’s just love.”
My school teacher rejected me and told me I didn’t have it in me to be a dancer-Vijay Ganguly
10:00 AM
Once told by a teacher that he didn’t have what it takes, Vijay A Ganguly has just bagged a top award—more importantly, his choreography has colonised dance floors around the world
Nisrin Saria (MUMBAI MIRROR; February 22, 2026)
On the way to the Super Star Hall in Andheri on the metro, I noticed the person in front of me absently scrolling through reels — until one made her stop. It featured two girls dancing to the viral hook step of Shararat from the film Dhurandhar. She watched it on a loop, as though mesmerized. That is the thing about a truly great piece of choreography: it cuts through. The man behind those moves, Vijay A Ganguly, just won The Iconic Gold Awards 2026 for the same dance on February 18.
Ganguly, 45, walks into the second-floor of the dance studio dressed in a black sweatshirt, denim jeans, and black-and-white sneakers. He greets his team with enthusiasm, and immediately joins a brainstorming session for a patriotic track in an upcoming film. “When creating the choreography for this song, I want to do something that even soldiers stationed at the border in freezing temperatures could dance to,” says the Worli resident.
A meticulous process guides how each song eventually unfolds on screen. “There is always a plan before hitting the set,” Ganguly says, noting the importance of research and alignment with the director and actors. Yet, he remains open to the occasional lightning strike of spontaneity.
He points to a viral moment in Dhurandhar, where Akshaye Khanna’s Rehman Dakait character dances to Sher-e-Baloch. “That wasn’t planned. He just started dancing, and we kept the camera rolling.”
Inside the hook step
For Shararat, the creative groundwork began eight months before the first day of shooting, he says. Director Aditya Dhar provided a steady stream of reference videos to help Ganguly deconstruct the specific nuances of Balochistani wedding celebrations. Typically, at festive gatherings, these celebrations include folk dances like Chaap and Do-Chapi, which are performed in circles with rhythmic clapping and coordinated steps, often to the beat of dohol and sorna. What the film captured, Ganguly says, represents only a fraction of the energy festive Balochi dances can generate.
“What we have filmed represents only about 30 per cent of the energy that goes into it,” Ganguly says. He recalls footage of women jumping off stages, falling, then springing back up, an atmosphere he describes as “pumping with energy.” The task was to translate that raw, communal intensity into something cinematic without losing its force.
The resulting video has since amassed over 200 million views on YouTube, with the hook step being recreated globally—a clear metric of success. The impact, however, didn’t end at the steps; it was in the utility of the design. “The costumes couldn’t be revealing, but a sharara would have restricted the choreography, so we added a slit for mobility,” Ganguly reveals.
This was a relatively easy assignment, he says of Shararat, noting the final step was a mix of two options chosen by Aditya Dhar. In contrast, he designed 32 versions for Stree 2’s Aaj Ki Raat. Despite his fame in dance, editing remains his true passion: “I edit all my songs myself; Shararat was 90 per cent cut by me on my little laptop.”
Growing up near the camera
Being on set comes naturally to him, as he grew up watching his father, filmmaker Anil Ganguly, at work. “My sister Rupali and I would accompany my father and seeing how everyone listened to him on set made me want to do the same or at least something similar,” he admits. He appeared in several of his father’s films, including Saaheb, Dushman Devta, and Sadak Chap, absorbing the rhythms of production long before he understood them.
Performance, however, did not begin with easy validation. “When I was ten and wanted to take part in my school play, I auditioned to Everybody Dance with Pa Pa Pa by Mithun uncle, but my teacher rejected me and told me I didn’t have it in me to be a dancer.” The verdict lingered. For years, performance slipped into the background, returning later by chance.
A wrong that made a right
In 1999, he walked into Shiamak Davar’s academy to submit the fee cheque for his sister’s class. The receptionist assumed it was for him and enrolled him instead. Persuaded to try one session, he started at the back of a beginner’s batch, caught Davar’s attention and stayed on, eventually teaching there for 13 years.
In 2013, he left to pursue films. “That’s when my struggle started again — my father had told me at 18, ‘Find yourself; I won’t make calls for you.’”
He waited outside offices for any job he may land. Jagga Jasoos, a four-year musical, shifted his trajectory. Close to quitting in 2016, he held on after his father reminded him, “Time se pehle kisi ko kuch nahi milta.” Galti Se Mistake became his breakthrough and won him the 2018 Filmfare Award.
Ganguly is clear that he does not believe in a formula. “One of my favourite works remains Main Parwaana from Pippa because it blended jazz with Bollywood.” It did not go viral. Not everything does.
Craft without pronouns
In an industry where dance is often linked to names like Farah Khan or the late Saroj Khan, Ganguly maintains, “When it comes to dance, there is no gender.” He points to Chaka Chak from Atrangi Re as proof. As COVID restrictions thinned his team, assistant Abhishek Pai became the reference for the entire routine. “We had to set the song immediately and Abhishek became the blueprint for it,” he says. The result became one of the film’s most recognizable numbers.
Now, Ganguly champions what he calls expression-led dancing, inspired by Govinda, where a fleeting facial reaction can outshine an elaborate step. His guiding principle comes from his father: treat the crew with respect. “People leave their families and work long hours for you. If they are there for you, that day should feel worth it.” should feel worth it and you must treat them with respect.”
Once closed off to anything beyond choreography, he is now open to whatever cinema offers, be it acting, producing, directing, or simply learning the art of lighting a scene. “After all,” he says, “choreography was never the plan, yet it became my calling.”
Dharmendra was awake till we completed the Ikkis song at 4 am-Vijay Ganguly
10:23 AM
Upala KBR (MID-DAY; December 20, 2025)
When Ikkis opens on January 1, it will, among other things, remind us of what Hindi cinema lost in 2025. Sriram Raghavan’s directorial venture, led by Agastya Nanda, will mark the final on-screen appearance of Dharmendra, who passed away on November 24. In the swansong, we’ll also see the superstar’s last dance, in a qawwali track.
Featuring Dharmendra and Jaideep Ahlawat, the song was shot in Pune in May 2024. It apparently sees the veteran actor’s character going to his college reunion.
A source from the unit said, “Initially, it plays in the background as Dharmendra’s character catches up with his friends. Then it moves to the foreground as his friends get him to the dance floor and he shakes a leg. It’s a fantastic moment! While the college is shown to be in Lahore in the narrative, producer Dinesh Vijan and Sriram filmed it in a Pune college.”
In Ikkis, Dharmendra portrayed the father of Nanda’s character, Param Vir Chakra awardee Arun Khetarpal. Working with him on the number was a moment of pride for choreographer Vijay Ganguly. Remembering the 89-year-old actor as being “full of life”,
Ganguly told mid-day, “Shooting with Dharmendra was amazing as he was vibrant and full of life. He was awake till we completed the song at 4 am.”
What made the collaboration sweeter was the fact that their association went way back. The choreographer, who has designed two songs in the biopic, added, “It was a moment of nostalgia for both of us. Dharam ji had done a film earlier with my father [filmmaker Anil Ganguly] called Dushman Devta [1991]. During the shoot, he remembered my father fondly. He told me he was a kind man and that he enjoyed working with him.”
Vijay Ganguly on Akshaye Khanna’s dance in FA9LA: "He entered the scene and performed spontaneously"
8:30 AM
With the internet tripping over Akshaye Khanna in ‘Dhurandhar’ track ‘FA9LA’, choreographer Vijay Ganguly reveals the actor was originally supposed to sit throughout the song but changed his mind
Upala KBR (MID-DAY; December 9, 2025)
Open your Instagram account, and chances are your feed is filled with reels of Akshaye Khanna’s entry sequence in Dhurandhar. Since the Aditya Dhar-directed actioner released on December 5, the actor has been unanimously praised for his intense performance as Rehman Dakait, standing out in the all-star cast of Ranveer Singh, Sanjay Dutt, R Madhavan, and Arjun Rampal. Now, his entry song, FA9LA, created by Bahraini hip-hop star Flipperachi, has gone viral. And here’s the kicker — it was an impromptu dance by Khanna.
Vijay Ganguly, who choreographed the number, tells mid-day, “The song is a celebration of Akshaye’s character being crowned as the Sher-E-Baloch. Originally, he was supposed to enter, walk through the dancers, and sit on the throne. Seeing the scene’s mood and the dancers’ performance, the fantastic actor that Akshaye is, he said he would dance a bit when he walks in. None of us knew what he was going to do. Akshaye entered the scene, took it from that point, and spontaneously performed.”
Even as he looks back on it, the choreographer is amazed that FA9LA was shot in barely two hours in Ladakh. For that, he credits Khanna’s precision.
“It was the first shot we took that day, and it was perfect. Then we did a close-up, and we were done. Akshaye knows exactly what he has to do in a scene and plays with it,” shares Ganguly.
Shooting in the high altitude of Ladakh is tricky, dancing more so. The choreographer shares that Khanna was suffering from high-altitude sickness during filming.
“Akshaye would carry a small oxygen cylinder with him. When we were shooting this song, his oxygen level had dropped. So, after every shot, he would put the oxygen mask on. He did the sequence unflinchingly, and then went home.”
Before Dhurandhar, Ganguly worked on Chhaava that featured the actor as Aurangzeb. Even though their interaction was limited on the historical drama’s set, it was enough for the choreographer to understand the actor’s undivided attention to his craft.
“Akshaye didn’t have any dancing to do in Chhaava. When he is on set, there is not much interaction outside of work. He is completely immersed in his character, thinking and trying to see what more he can do to enhance his scene.”
Varun Dhawan to wrap up Hai Jawani Toh Ishq Hona Hai with a high energy dance number
10:15 AM
Mohar Basu (MID-DAY; November 20, 2025)
A carnival-style dance number is almost a fitting way to end the shoot of director David Dhawan’s entertainer Hai Jawani Toh Ishq Hona Hai. Following weeks of shooting across different locations in Mumbai, leading man Varun Dhawan will face the camera next week for an extravagant dance number that will serve as the end-credit song. mid-day has learnt that the production team has erected a sprawling set at Mehboob Studios in Bandra for the eight-day shoot.
Before stepping on the dance floor, Varun is apparently prepping hard for the track that will be choreographed by Vijay Ganguly.
A source says, “Vijay has mapped out long takes with rapid transitions. In the song, Varun will be moving across different zones — a bridge, a rotating platform, and more — in the multi-level set-up. In one portion, he will also perform a comedic bit that is a hat-tip to Govinda’s dance moves. Varun has been rehearsing at Mehboob Studios, particularly for a demanding sequence that sees him match steps with 60 background dancers.”
After the shoot next week, it will be a wrap on the comedy, which marks the fourth collaboration between Varun and his father David. It also stars Pooja Hegde and Mrunal Thakur.
Ahead of Dhurandhar teaser release, Ranveer Singh shoots high-energy dance number
9:16 AM
Mohar Basu (MID-DAY; July 4, 2025)
Barring an extended cameo in Singham Again (2024), Ranveer Singh has been missing from the big screen after Rocky Aur Rani Kii Prem Kahaani (2023). That’s going to change soon, with the superstar almost ready with his next, Dhurandhar. While the teaser of director Aditya Dhar’s ambitious espionage thriller will be unveiled on July 6, we’ve heard that the leading man recently filmed a song at the Golden Tobacco Factory in Vile Parle.
Word is that the track, a fusion of desi street beats and swagger, will be positioned as one of the visual highlights of Dhurandhar that also stars R Madhavan, Sanjay Dutt, Akshaye Khanna, and Arjun Rampal. The song has been choreographed by Vijay Ganguly.
A source from the production team reveals, “It’s a high-energy dance number. Ranveer was in top form as he rehearsed for many days before shooting at the studio over four days. Aditya mounted the track on a big scale with massive set pieces, numerous background dancers, and wrapped it up on Monday, June 30. Onlookers who caught a glimpse described Ranveer’s look in the song as fierce.”
We’ve heard glimpses of the song will make it to the teaser that will drop on July 6, to coincide with Singh’s birthday.
Aamir Khan, Genelia Deshmukh shoot special song for Sitaare Zameen Par
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Sources say Aamir Khan and Genelia Deshmukh shot a special song for Sitaare Zameen Par in Mumbai last week; to be used as a post-credits track
Mohar Basu (MID-DAY; April 12, 2025)
Three years after Laal Singh Chaddha (2022), Aamir Khan is gearing up to return to the big screen with Sitaare Zameen Par by May-end. We can expect another heartfelt story as the R S Prasanna-directed film, a spiritual successor to the superstar’s much loved Taare Zameen Par (2007), revolves around a group of men with intellectual disabilities who discover their self-worth through sports. While details about the film—which is a remake of the Spanish offering, Campeones (2018)—have been kept under wraps, mid-day has learnt that a special song featuring Khan and Genelia Deshmukh was shot last week in Marol.
Over a five-day schedule, Prasanna and choreographer Vijay Ganguly gave shape to the number. A source from the set reveals, “It’s a feel-good track. It’s unclear whether it will be part of the narrative. Most likely, it will be a special number attached to the credits, playing out like a montage that ties together the movie’s central themes.”
Post-production of Sitaare Zameen Par, which also stars Darsheel Safary, is nearly complete. We’ve heard that Khan is considering kicking off the promotional campaign by early May. The source adds, “The film’s subject is very close to Aamir. He is keen to build early awareness around the movie, and position it thoughtfully.”
Ibrahim Ali Khan is not a fantastic dancer but a very hardworking one-Vijay Ganguly
9:16 AM
Choreographer Vijay Ganguly shares how he worked with every generation of Saif Ali Khan’s family, including Amrita Singh, Sara and Ibrahim
Upala KBR (MID-DAY; March 16, 2025)
While the Pataudi family was not blessed with great dancing skills, they made up for it with hard work. Choreographer Vijay Ganguly—son of National Award-winning director and screenwriter Anil Ganguly—who has been on movie sets with his father since childhood, shares that he has worked with every generation of Saif Ali Khan’s family, including ex-wife Amrita Singh, Sara Ali Khan, and Ibrahim Ali Khan who recently made his debut in Bollywood with his Netflix film, Nadaaniyan.
Although the Ibrahim-starrer was met with harsh criticisms, Vijay says that like his father, Ibrahim didn’t mind working hard and endlessly rehearsing dance numbers. “Ibrahim is not a fantastic dancer but a very hardworking one.”
They met on the set of the wedding track, Tirkit Dhoom. Vijay adds, “Though he comes from a Nawabi family, he is grounded. Every time he didn’t get a step right, my assistants would go out of our way to make sure he did it well.”
Reminiscing about being on the set with Singh during the shoot of Saaheb (1985), Vijay shares that he also played a small role in the Anil Kapoor-starrer. “I was a child artiste in the film. I met her properly during the shoot of Sara’s Zara Hatke Zara Bachke [2023] and she remembered that I had choreographed Sara’s song, Chaka Chak [from Atrangi Re, 2021]. Sara would wake me up in Goa at 4am to rehearse. She is transparent and has no filters. Sometimes we have to tell her to calm down,” he added. Vijay is also designing the dance in Sara’s Metro In Dino.
Vijay shares that he met Saif for the first time during rehearsals for an award ceremony. “Saif has improved over time. He will joke about things [but still] learn his steps.”
His first film with Saif was Chef (2017), followed by Bhoot Police (2021).
Vicky Kaushal, Rashmika Mandanna shoot grand song for Chhava with 700 dancers
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Chhaava actors Vicky-Rashmika said to have shot a grand song, depicting Sambhaji Maharaj’s coronation ceremony, with 700 dancers; set of Raigad fort built for the number
Upala KBR (MID-DAY; September 26, 2024)
When it came to helming his first historical drama, Laxman Utekar decided to attempt an ambitious retelling of the life of Chhatrapati Sambhaji Maharaj. Out of this desire was born Vicky Kaushal’s Chhaava, an adaptation of the Marathi novel of the same name by Shivaji Sawant. With the biopic focusing on the Maratha king’s reign and his conflicts with Mughal Emperor Aurangzeb, an important chapter in the narrative is Sambhaji’s coronation ceremony in 1681. It is heard that the director shot a grand song with Kaushal, leading lady Rashmika Mandanna and 700 background dancers in May, to depict the ceremony.
Sources tell us that an expansive set, modelled on the Raigad fort, was built at Film City by production designers Subrata Chakraborty and Amit Ray. The song, composed by A R Rahman, was shot over four days at the venue.
A source reveals, “The official coronation had taken place on January 16, 1681, at the Raigad fort. At the research stage of Chhaava, it was found out that a London newspaper had carried an article about how the coronation ceremony was a vibrant affair. The article aided the director in recreating the event. In the song, Vicky’s Sambhaji will be seen performing the yagna and the thread ceremony while his wife Yesubai does the Rajabhishek and aarti. As his kingdom rejoices, the king is finally seen taking the throne.”
The source adds that the song is inspired by Powada, a form of Marathi poetry that is used to glorify the kings. Staying true to the subject, composer Rahman is said to have used traditional musical instruments of dholki, tuntune and sambal for the track.
“Vijay Ganguly, who previously choreographed the Stree 2 songs, made it a majestic affair by bringing in over 1,500 people to depict the crowd. The entire city of Raigad is shown to have come to celebrate Sambhaji’s coronation. While the number starts with Vicky’s character partaking in the rituals as his subjects rejoice, Rashmika and he are then seen joining in the revelry. This is the only dance number in the film, the rest play out in the background.”
People call me Rupali’s mum and that’s enough for me-Rajani Ganguly
8:16 AM
Akash Bhatnagar (HINDUSTAN TIMES; May 10, 2024)
Actor Rupali Ganguly saw the superwoman in her mother, Rajani Ganguly, for the first time after passing the 10th standard.
“Mumma said she wanted to complete her studies. Since she didn’t come from a well-off background, she had to give up her studies. So, she completed her graduation when I was studying too. That made me see my mum in a completely different light and I felt so proud of her,” says Rupali.
Mention it to her mum and Rajani quips, “People would tease me that I didn’t have any college degree. So I got a BA degree to shut everyone’s mouth.” Interestingly, Rajani also had a connect with showbiz, as she worked with the late choreographer Saroj Khan.
“Saroj used to work with Sohanlal (choreographer) master, and I, too, was there. I would just watch her dance and she’d often ask me to join. I was working in the group with them, and Saroj would take me along with her for choreographies. I worked on the (actor) Aruna Irani song Ae Phansa from Bobby (1973). I also did a lot of stage shows as a Lavani dancer with composer Vasan Desai. In director Hrishikesh Mukherjee’s Aashirwad (1968), I did a solo Lavani act with (actor) Leela Gandhi as well,” she shares.
However, after marriage, Rajani decided to become a homemaker. “I had a dream to reach a point in my life, but I couldn’t fulfil that. But both my kids (daughter Rupali and son, choreographer Vijay Ganguly) fulfilled that for me,” she gushes.
The proud mother credits her daughter for not letting the difficulties in the journey faze her. “Rupali never let us feel her struggles. I used to feel bad that she did such amazing work in shows like Sanjivani, Parvarish and Sarabhai vs Sarabhai, still she never got an award. But today, every award is hers to take. People call me Rupali’s mum and that is enough for me. I have got everything I could have asked for,” Rajani says.
My mum, my inspiration
Rupali says, “My mom is a brilliant orator. She can give speeches effortlessly. She’d give speeches on women’s empowerment and a lot of it I imbibed for my character in Anupamaa.”
Rajani on a quality Rupali’s got from her...
“Main bak-bak bahut karti hoon, aur Rupali bhi. I even asked my son-in-law once if there is someone writing all these great things she says, but he told me it’s all her.”
Give us our due, why do we have to beg for it?, ask Bollywood choreographers
8:26 AM
After Bosco Martis raised the issue of choreographers not getting due credit, others from the fraternity join the discussion
Neha Maheshwri (BOMBAY TIMES; January 3, 2024)
Renowned choreographer Bosco Martis’s recent post on Instagram demanding due credit for choreographers on promotional platforms, especially on posters, radio, and YouTube, has garnered support. Calling it a fight of 22 years, he wrote, “When the music director, lyricist, singer or the writer is celebrated, then why not the choreographer who makes the actors and the nation dance. It’s heartbreaking.”
Talking about the need to recognize the hard work put in by choreographers, Bosco says, “The entire nation celebrates our hook steps and dance moves, but we rarely get credit. Even on YouTube, choreographers are seldom mentioned. Every time I choreograph a song, I have to insist on having our names on the poster. Unfortunately, our names don’t find a place even in teasers and trailers. Why should we beg for credit? It should be respectfully given to deserving people.”
He adds, “‘Naatu Naatu’ from ‘RRR’ reached the Oscars, but it was disheartening to see that the choreographer’s (Prem Rakshith) name was not acknowledged. I believe it was the choreography that contributed immensely to the song’s success.”
‘Established choreographers need to unite and fight for this cause’
Bosco hopes to get more support from the industry on this. “A film’s director, actor, and producer should be the first to acknowledge our work. This is just the beginning. Established choreographers need to unite and fight for this cause. It’s not about one choreographer’s credit, it’s a fight demanding a fair deal for everyone,” he says.
Meanwhile, the latest development is that Hrithik Roshan has initiated a dialogue with the makers of his upcoming film Fighter to include Bosco’s name in the latest track.
‘Logon ko lagta hai naachna asaan hai, which is a misconception’
Choreographer Mudassar Khan says, “Bosco’s post has struck a chord with every choreographer in the country — dil ki baat kar di. It’s strange to watch a song without knowing who put together those steps and movements. In Bollywood, a song gains popularity primarily after its visual presentation. What if a filmmaker likes the choreography, but how will they approach us if our names are not mentioned? Unfortunately, the industry always puts the lyricist, singer, and music director above a choreographer. Logon ko lagta hai naachna asaan hai, which is a misconception. Only 10 per cent of makers take the initiative to credit us in songs on TV and other platforms.”
‘Dance in the industry has lost its position as an art form’
Karishma Chavan, who has been part of the industry for 20 years and has choreographed for several films, including ‘Veere Di Wedding’, shares, “In the past, choreographers got their due, but dance in the industry has now lost its position as an art form. There is a lack of credit and monetary compensation for our experience, let alone respect. Bosco is justified in taking a stand and addressing the growing disrespect. The only way forward is for technicians to stand united on this.”
‘It’s a constant fight to ensure our names are mentioned’
Vijay Ganguly, who became an independent choreographer in 2013, says, “I was surprised when Bosco sir posted about this issue, as I would think it happened to those relatively new in the industry. Often our songs are released on platforms like YouTube, and credits are given to everyone but choreographers. It’s a constant fight to ensure our names are mentioned. For films like Sam Bahadur and Pippa, I requested the makers to mention the dancers in the end credit because they put in significant time and effort. I am glad they complied. Seeing our names on the big screen makes a significant difference to us.”
‘Even after 36 years in the industry, I feel unrecognized’
Jyothi D Tommaar, who choreographed the National Award-winning song Ghoomar in Padmaavat (2018), along with Kruti Mahesh, says, “I am grateful to filmmaker Sanjay Leela Bhansali for ensuring that Kruti and my name is mentioned every time the song is showcased. However, if others have had negative experiences, I will certainly support them. Unfortunately, choreographers face struggles despite bringing life to songs. Even after spending 36 years in this profession, I still feel unrecognized in the industry. If you don’t actively promote your name and achievements, recognition remains elusive. I empathize with Bosco and stand in solidarity with him.”
‘A song belongs as much to the choreographer as it does to the music director or the singer’
Vrushali Chavan, who assisted Farah Khan before starting independently in 2015 and has choreographed the single ‘Swag Mera Desi’, among others, asserts, “Every artiste deserves rightful acknowledgment. A song belongs as much to the choreographer as it does to the music director or the singer. In many cases, a visually appealing song serves as an invitation to watch the film. I have faced this situation – choreographed all three songs in a film only to find my name missing from the credits on YouTube. I had to request them to add my name, but by the third song, I gave up. It’s a sorry plight that we have to ask and remind people of our contribution.”
Bhai Dooj has become more meaningful after marriage-Rupali Ganguly
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Kavita Awaasthi (HINDUSTAN TIMES; October 26, 2022)
Bhai Dooj is an occasion to celebrate the special bond of a brother and sister, and actor Rupali Ganguly enjoys the day to the fullest. She tells us that she and her brother, choreographer Vijay Ganguly, were taught to respect such special days by their parents. This year, Rupali and Vijay are looking forward to spending the day together. “Bhai Dooj is important to me, not just because we have been celebrating it since childhood, but also because both of us are always busy. At times, we don’t meet for months,” says the 45-year-old.
Vijay, 42, who has choreographed a number of Bollywood songs, including Chaka Chak (Atrangi Re; 2021), adds, “Rupali and I make sure that we are together on Bhai Dooj every year. Now that she is married, these occasions mean much more to me.”
Sharing how they spend the special day and her plans for this year, Rupali shares, “Usually, we go out for dinner and our cousins join in, too, as Vijay is the only brother among us [sisters]. At home, we do the puja, exchange gifts and then head out. Since my TV show began, I don’t get much free time. But earlier, I would cook Vijay’s favourite food at home. This year, if I get off from work on time, I will cook something for him. In fact, Bhai Dooj has become more meaningful after marriage, because we don’t stay in the same house now.”
Like most siblings, they have banters, too. Revealing how they argue over silly things, Vijay shares, “Once, Rupali and I fought over the decorations and some saree ka colour and it blew up so much that we didn’t speak to each other for two months (laughs)! Today we laugh about it.”
Unlike my screen wedding, my real life wedding was a superfast one-Rupali Ganguly
8:19 AM
Tanvi Trivedi (BOMBAY TIMES; May 21, 2022)
The focus in Anupamaa right now is on Rupali Ganguly’s wedding to Gaurav Khanna. It’s a high point on the show. Rupali has become a bride on TV for the third time. Earlier, she dressed as a bride when she celebrated 25 years of marriage with her first husband Vanraj (Sudhanshu Pandey) in the show and a few years ago, when she acted in Sanjivani.
She says, “Both the times, I became a bride for a brief while and it was not so elaborate as the current wedding is. Personally, I believe in small and simple weddings and my own wedding was a quick and simple one many years ago.”
Rupali married Ashwin K Verma, a corporate professional, in February 2013 at her parents’ home in Worli. She says, “Ashwin and I had decided to get married just two days in advance and I had announced it to my parents. My brother (Bollywood choreographer Vijay Ganguly) was taking a flight out of Mumbai and I had to ask him to stay back. We fixed a date and I was hoping that Ashwin would show up on time. We were planning to do a registered wedding, but then my father (director Anil Ganguly) decided to do the kanyadaan and we called a pandit. That day, Ashwin entered a ‘no entry’ lane and was fined by the police. It was hilarious how he finally landed at my home and the pandit started chanting the mantras from the ground floor till he came to my flat. I had around 99 people at my wedding and it was over in a few minutes. We had a party on the same day at an eatery in Versova for our friends. Ours was a fast, hilarious and super quick wedding. I feel that instead of spending money on big, fat weddings, you should share your happiness by helping the less privileged.”
If we rolled at 7 am, Sara Ali Khan would train from 5-Vijay Ganguly
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Chaka Chak choreographer Vijay Ganguly discusses designing Sara’s debut solo dance act for Atrangi Re
Sonia Lulla (MID-DAY; December 3, 2021)
Chaka Chak choreographer Vijay Ganguly describes Sara Ali Khan’s Atrangi Re character as one who “can’t sit quietly” and “craves attention”. These qualities, when coupled with the situation in the film, warranted a six-minute dance sequence that sees Khan put on her dancing shoes for her first solo dance act. While Ganguly has choreographed Khan in Love Aaj Kal’s Haan Main Galat, also starring Kartik Aaryan, he says she knew this act was more defining, since it put the spotlight on her alone.
“At Dhanush’s engagement, Sara’s character Rinku is teasing him with this dance. He doesn’t know what to do, because that’s the last thing he wants. We had to make the dance look loud, but not vulgar, and Sara did a fine job at that. She rehearsed each move. If we had a 7 am call time, she’d start training with us at 5 am to revise all that she was supposed to do that day,” says Ganguly, who also worked with director Aanand L Rai on his last production, Shubh Mangal Zyada Saavdhan. Filming for the A R Rahman composition, he reveals, took place in Madurai with a crew of 120, including 40 dancers.
Ganguly, son of the revered late director Anil Ganguly, has been a celebrated figure in the city’s dance community for his role as former principle dancer of an Indian dance school. While choreography came naturally to him, he admits that a fair share of learning went into understanding how it must be adapted for cinema.
“In cinema, there are a lot of close-ups involved. And all the expressions that the actor gives during the dance piece need to align with the character. We could also use reactions as [part of choreography]. Expressing through dance makes choreographing for films important. Learning steps is one part of the process, but developing the grace required to pull it off is not easy. We needed someone as dedicated as Sara to work on, and nab that, as well as she did.”
For Yaar Bina Chain, we made Ayushmann Khurrana recreate the step of Anil Kapoor-Vijay Ganguly
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Vijay Ganguly on choreographing Yaar Bina Chain from Saaheb, which was directed by his father, for Shubh Mangal Zyada Saavdhan
Sonia Lulla (MID-DAY; February 9, 2020)
During the shoot of Saaheb (1985), Vijay Ganguly, then five, would run about the set as his director father Anil Ganguly filmed Yaar Bina Chain with the movie's leads Anil Kapoor and Amrita Singh. Almost 35 years later, in a quirk of fate, Vijay found himself being appointed to choreograph the rehashed version of the song for Ayushmann Khurrana-starrer, Shubh Mangal Zyada Saavdhan. "Initially, the team, including director Hitesh Kewalya, simply told me I would be working on a remix of Bappi da's [Lahiri] song, and that they were sure I would be excited about it. As soon as the track began, I was taken aback. I thought, what are the odds that of all the choreographers and all the songs, this one would come to me?" exclaims the choreographer, talking about the song that releases on Tuesday.In keeping with the theme of the same-sex love story, the track—now titled Arrey pyaar kar le—has Khurrana romancing his on-screen love interest, Jitendra Kumar. "Since the song didn't have [the usual] guy-girl dynamics, there wasn't much that we could [use] from the original. So, we decided to [reference] the period instead. When my dad made the film, the unit went to Ballard Pier, used water, and employed the star filter that made water [droplets] look like light. So, we used the same filter for our song to [evoke a sense of nostalgia]. We also made Ayushmann recreate a step of Anil sir." He adds that Khurrana, delighted to learn of the coincidence, urged him to invite his mother and actor sister Rupali Ganguly to the shoot.
Vijay Ganguly with Bappi Lahiri on the set
Before rolling, we trained in dance for five months, and rehearsed for four hours a day-Sunny Kaushal
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Bhangra Paa Le actor Sunny Kaushal discusses his five-month prep to ace dance form
Sonia Lulla (MID-DAY; December 29, 2019)
The finesse with which Sunny Kaushal pulls of the Bhangra sequences in Peg Sheg is testimony that the makers of Bhangra Paa Le were unwilling to depict the dance form as frivolously as it has been done in cinema, so far. "Before rolling, we trained in dance for five months, and rehearsed for four hours a day. As a leader of my [dance] troupe in the film, I had to [pay attention] to the technique. Bhangra has a lot of it. Also, it must be pulled off with grace and energy, and look like a fun form of dance," says Kaushal, who, apart from learning the authentic style, had to also learn its various iterations to do justice to the storyline.
"Our film has two storylines, one is set in the '40s, and the other, in present day. So, we had to learn the original form for the first part, and the fusion version for the second. Our choreographers, Adil Shaikh and Vijay Ganguly taught us the sequences for the 10 songs in the film. Given that we couldn't [learn it all] during the shoot, we had to learn the techniques before we rolled."
Even as his actor-brother Vicky Kaushal—who took home the National Award days ago—has been going from strength-to-strength with each film, Sunny doesn't seek his advice. "Since we were kids, we have been independent. We have different personalities, and our approach to things also varies. He has made a mark quickly, and has done so with his own choices. I'd like to do it on my own [too]. If we need advice, on a script, or otherwise, we'll go to our father [Sham Kaushal, action director]; his experience is unparalleled."
In less than 24 hours, we turned the Dilbara Ve song around-Juno Chopra
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After receiving backlash for marital rape dialogue, Pati Patni Aur Woh makers reshoot portions of the song with Kartik Aaryan; lend sensitive approach to the number
Mohar Basu (MID-DAY; November 27, 2019)
A week after the team of Pati Patni Aur Woh went back to the editing table to snip a dialogue that trivialised marital rape from the trailer, leading man Kartik Aaryan and producer Juno Chopra had to go back to the drawing board. mid-day has it that the duo, in a pre-emptive move, shot additional portions of the song, Dilbara Ve, earlier this week.
The Bhumi Pednekar and Ananya Panday starrer is a modern-day rendition of the Sanjeev Kumar-led comedy by the same name. While the 1978 hit offered a comic take on infidelity, Chopra was certain that he had to be responsible for tackling the theme of an extra-marital affair. A source reveals, "After the recent developments, Juno was stronger in his resolve to be sensitive in his treatment of the film. Kartik and he decided to add a few scenes to Dilbara Ve that shows him repenting the fact that he hurt the feelings of two women."
Chopra, who wrapped up the shoot of the track on Sunday, says, "When I saw the song at the edit table, I was sure that we needed to introduce the pain that Chintu Tyagi [Aaryan's character] was feeling. What he had done to the two women caused him anguish. The film has so much more than comedy; we needed to focus on the heart. So, in less than 24 hours, we turned the song around. Vijay Ganguly [choreographer] and Mani Kandan [cinematographer] changed the energy of the track."
Sonakshi Sinha and Badshah to recreate Jasbir Jassi's 'Koka' for their upcoming film
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Natasha Coutinho (MUMBAI MIRROR; June 3, 2019)
Debutant director Shilpi Dasgupta’s yet-untitled slice-of-life film features Sonakshi Sinha and rapper-singer Badshah who will be making his acting debut. Now, Mirror has learnt that the duo is all set to recreate Jasbir Jassi’s hit song from 2003, “Koka”, on screen. The film’s team is retaining Jasbir Jassi’s voice with some rap portions by Badshah in Tanishk Bagchi’s recreated version. The original video had featured Mugdha Godse.A source close to the development informed that the folksy number is being used as a celebratory track with Sonakshi and Badshah, along with Varun Sharma and other actors grooving to the catchy beat. “Choreographed and directed by Vijay Ganguly, it was recently shot at a resort in Panvel,” added the source.
Sonakshi confirmed the news, saying, “Yes, ‘Koka’ is a peppy, foot-tapping number, one of my favourites, and we had a great time shooting it.”
Her co-star added that it has been a pleasure to revisit Jasbir Jassi’s magic, a full-throated Punjabi celebration of Sonakshi’s character, her crazy family and circle of friends. “Tanishk has done a great job with urbanising the folk sound and it’s definitely going to be the new jam this wedding season,” he promised.
The film is produced by Bhushan, Kishan and Divya Khosla Kumar, Mahaveer Jain and Mrighdeep Singh Lamba. And Bhushan asserted that the recreated version fit in perfectly. “The backdrop is Punjab and the characters are happy-go-lucky people. They celebrate their happiness in full-on masti and in keeping with the flavor and characters, ‘Koka’ was the apt song to take forward,” he reasoned.
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