Some people are visiting this site in a search for mujras because they’re looking for softcore porn. That’s understandable, because the mujra sort of has a double meaning. Wikipedia used to have* a pretty good description of its origins… It was a dignified dance once, but due to political and social upheaval, it did for a while become the province of prostitutes. However, it seems to have undergone a more arty and slightly more wholesome revival and has become a fairly normal feature of mainstream Indian and Pakistani cinema. With its complicated history and mixed reputation, it’s probably similar in some ways to belly dancing or to the recent, more arty revival of burlesque dancing here in the U.S.
My interest in mujras is certainly not without some sexual aspect, but to me, watching a real mujra is far more interesting and aesthetically satisfying than looking at softcore porn or some artless striptease dance. Although, I admit, if you do a search for mujras, you’re going to find a lot of stuff out there that is nothing more than striptease. But a real mujra, with its particular traditional features, is something different from that.
As Wikipedia puts it:
Mujra is a part of classical kathak. Although many believe that (sort of true too) this is the variation of kathak that bears suggestive connotations, most kathak artistes perform the mujra quite gracefully and in a dignified manner.
Mujra inherits from kathak a lot of intricate arm movements, and that’s one reason I really like it. People in the west don’t use their arms and hands in dancing the way they do in the countries of South Asia. To me, arms can be as important in dancing as the feet, and the use of the arms in Indian dancing is probably better than in dancing anywhere else.
And I have found in my recent search for mujras on the Internet that no one is as pleasing to watch as Megha. Part of this does have to do with my sexual aesthetics. I like the fact that she is not as skinny as so many dancers; she has some substance to her body yet can still move with great speed and agility. And I do like the speed, maybe because of my own experiences with dancing to hardcore techno and punk. There are also probably many other good aspects to her technique that I could spell out more specifically if I wanted to think over this carefully, maybe even do some more research, and play dance critic. But for the present purposes, let’s just say that I think she’s great.
I’ve changed the Megha mujras on this blog a couple of times, trying to find just the right ones. There probably are mujras out there in which she’s done (even) better dancing, but I also was conscious of the music that I wanted to include. I chose the most recent one, especially, for that modern punjabi sound, with its particular rhythms, electronics, and fun vocals.
I’ll be getting a little more into that punjabi sound in the future. The biggest contemporary music that uses it, of course, is our modern-day bhangra. It took me a while to get to like real punjabi bhangra (as opposed to other contemporary desi music, which might be called bhangra sometimes but maybe really isn’t); however, it’s growing on me. There are a couple of record stores near me in Jackson Heights that sell almost nothing but bhangra, and one of them is located right next door to an Indian restaurant that has the best reasonably priced chicken masala in New York. So, no promises yet, but I might be posting some reviews of real bhangra in the near future – along with more mujras.
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* Note, five months after this post: Had to revise because Wikipedia’s definition (at least as it existed) seems to have disappeared. Will be looking for a different one soon – and revise this post more. (I’m writing this P.S. on March 15, because I’m seeing that this post is still getting a bunch of hits, strangely enough.)
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Note, a year and three months after this post: Wow, people are still landing here, a lot. A lot has happened in my education of Indian dance and music since I wrote this. For one thing, I’ve gone off the stage dance mujras (though I still like Megha just fine) and have developed full knowledge and appreciation of Indian film mujras. These are more artificial in a way, because they are in a fictional and usually historical setting (courtesans and all that stuff), but the artistry of some of these dances is just fantastic. My favorite Bollywood mujras are those done by some of the best golden age dancers: Vyjayanthimala, Padmini, Minoo Mumtaz… As I’ve said, though, the word “mujra” obviously can have very different meanings, and the Pakistani stage dancers are a very different thing from the mujra that I’m more likely to watch now. I still like them, though…
Regarding the comments about Punjabi music… I seem to have gotten off that a little. I still appreciate contemporary desi sounds, but am not so much into the real bhangra these days. To some degree, my tastes have also gone south, so to speak. I fell in love with another “reformed” dance, bharatanatyam, pulled out of some disrepute in the 1930s and revised into a high art. I get a lot of joy out of watching that kind of dance, and have for some time at this point. I therefore also realized how much I like carnatic music too.
The music store that I was referring to seems to have closed, or at least it’s not in the place where I remember it. There are a couple of stores I still go to that sell the fashionable music, but I go to them mainly for classic films (which they also sell, as do quite a few other stores around here). The place I was thinking of that had the good chicken masala doesn’t impress me so much these days. I’ve kind of gotten away from spending extra money in restaurants and when I get food from this area, it’s mainly from the trucks. (There are good ones along 73rd Street.) I also am buying lot more old Indian movies now, sort of instead of the restaurant food.
Hey, interesting post. I’ve just taken your lead and checked out some of Megha’s dancing. Have you seen Reema’s mujras? I spent too much time watching them on youtube last week. Maybe you’ve see them too. Here are a few links of Reema Khan, enjoy!
Thanks, Sitaji. Those are a lot of fun. A little different in that they are full cinema scenes…but she’s a good dancer too.
Hi:
Thanks for this place. i was looking more information about Mujra dance and i could find your place. Im dancer from Spain, i go to India a lot of times to learn indian dance and i could find Mujra dance and i love it. Now im started to dancing this kind of dance in Spain and people love it.
I’m making much effort to revive this dance because it has a bad reputation but it is very difficoult, so It has been a real pleasure to find this site with most respects for this dance and it is not seen like porn or something like protitucion.
Again, thanks a lot
I’d love to know when you think the transition of the mujra went from a classic art form to a dirty dance? There’s not much on the history of the dance other than what I’ve seen on the internet. I agree that Megha is definitely one of the purer forms, I try not to wince when I just see bootie and boobie poppin in some of these other “mujra” videos.
Zeenah, glad you stopped over. :) I see that you have an interesting blog, and I’ll probably add it to the blogroll soon.
You asked a question that will take some time for me to answer, if I ever do. :) But I didn’t want to leave your comment sitting there for too long, so I thought I’d answer it partially for now.
And, wow, you’ve commented on a really old post here, back from this blog’s infancy. Look, I think this is the first time I “met” Sita-ji! And I go on about the modern Punjabi sound, first having interest in it and then losing interest and saying that my interests have gone south… When more recently, I’ve gotten to like the Punjabi sound more than anything, just not the modern kind. :) I’ve learned a lot since I wrote this post and even the later comments… But still haven’t quite completely figured out the history of the mujra. :)
I will say one thing I’ve learned that I didn’t know back then… I read this somewhere, that in Pakistan it’s expected that the mujra will have some classic (if not quite classical) element if it’s called such… And that the people who just put on a bad striptease and call it mujra are usually Briitish!
I found a few things about this online, but… Looks as though I’ll have to find them again…
Thank you very much, this is a very interesting post. I learn Indian dances and costumes. It is difficult to find information about this style, especially in Russian. Moreover, the Indians do not know the history and origins of dance. Or just do not want to share. A new generation of Indians – who is mostly my friends,They know only about the sexual aspect of the story and how it relates Bollywood.
Spying through the stats page, I am delighted to see that people are still turning to this post for reference more than nine years after I first wrote it. One reason I am delighted is that new information has come in.
I would like to call attention to an excellent history of the Pakistani mujra written by YouTube user Khaartoum (specifically in the Khaartoum East channel). It appears on YouTube below this video featuring Nida Chowdhry:
Here is a good excerpt from what Khaartoum wrote. (And I will leave in all the strange capitalization, etc., since he must have had a purpose for doing that – plus it would be a lot of work to take it out. :) )
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PUNJABI KATHAK falls to BELLY DANCE from PUSHTO CINEMA
Strange ARTISTIC FASHIONS cross-pollinated inside PAKISTAN. The PROBLEM with maintaining KATHAK is that it needs TRAINING, PRACTICE and MUSICIANS. Another added OBSTACLE is that AUDIENCES need some FAMILIARITY of the CONVENTIONS of KATHAK to ENJOY the dance fully. Over in PESHAWAR the PUSHTO FILM INDUSTRY [influenced by MIDDLE EASTERN & TURKISH CULTURE] often employed PUNJABI ACTRESSES and DUBBED their VOICES. These girls came from HIRA MANDI and were shown the RELATIVLY EASY and SEDUCTIVE BELLY DANCE STYLE of PATHAN DANCES. Somewhere, the influence of WESTERN PAKISTAN dislodged KATHAK for the EASY and more ‘EROTIC’ PUSHTO BELLY DANCE that could be done to a TAPE. So it took little training, it was more sexy and musicians didn’t have to be paid and rehearsed with.
MUJRA, THEATRE, CINEMA and VCD
The BELLY DANCING MUJRA took over PUNJABI CINEMA from the 1990s onwards. The DECLINE of PUNJABI CINEMA has been partly to do with Pakistan’s phemonenon: ‘THEATRE KILLED THE CINEMA’. Under more relaxed laws of MUSHARRAF, MUJRA could be performed LIVE in THEATRES. MALE AUDIENCES wanted to ‘smell the meat’ [comment made to me in LAHORE!] of the LIVE dancers rather than ‘dead’ CELLULOID IMAGES in the CINEMA. Even at €8 a ticket, audiences will go to the THEATRE for LIVE DANCING. Sadly, the CINEMAS in the PUNJAB began to FALTER in the early 2000s. CRITICS say that the once INTELLECTUAL PAKISTANI THEATRE that produced TV THEATRE like ‘CHANDI SONA’ has been DEBASED by MUJRA and VULGAR RAUCOUS PUNJABI STAGE COMEDIES…but SUPPORTERS say that DESI [local] CULTURE is being PROMOTED along with SECULAR FREEDOM to DANCE and LAUGH in PUBLIC, and of course, they are a SELL OUT, so the public LIKE them. The newer BELLY DANCE MUJRA has become a VCD PHENOMENON in PAKISTAN. MUJRA is shot in STUDIOS or OPEN AREAS for PUNJABI and PUSHTO AUDIENCES and the MUJRA DISC INDUSTRY is very LUCRATIVE and POPULAR in the CITIES and RURAL AREAS where VCD PLAYERS are CHEAP.
WHO ARE THE MUJRA-WALIS?
The DANCERS are often POOR UNEDUCATED GIRLS who come from areas of LAHORE like HIRA MANDI. They grow up in families of KHANJAR [prostitutes] in these districts who are wonderfully described in the book, ‘THE DANCING GIRLS of LAHORE’ penned from BRITISH RESEARCHER, LOUISE BROWN’S four year stay with such a ‘KHANJAR’ family in HIRA MANDI. The clearest point made in the book is the HIGH PRICE a girl can EARN for DANCE, ENTERTAINING and MISTRESSING in her YOUTH that must be SAVED for her OLD AGE.
NIDA CHOWDHRY appears to be such a girl. On the POSITIVE SIDE she seems ENERGETIC and BRAVE. There is a MIX of an almost MASCULINE CONFIDENCE, seemingly UNTHREATENING ‘low education/low awareness’, and an ODD ‘BABY-ISHNESS’ about NIDA which KEEPS HER SAFE. On the NEGATIVE SIDE she has a SEVERE SPEECH IMPEDIMENT which may INDICATE ‘SEVERE CHILDHOOD TRAUMA’ which is WORRYING. NIDA’S voice has to be DUBBED in CINEMA.
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Now, I have to say, that little bit of history certainly filled in a few blanks for me!
There’s even a bit more to the description, but I would like to urge everyone to go to the original YouTube post to see the rest of it… And to then check out more from Khaartoum East, because it is a fascinating channel.
Pakistani mujra: A traditional dance loved by the crowd!
Sheeza Butt an amazing Mujra Dancer