Bollywood dance has always been the vibrant heartbeat of Indian cinema. Over the decades, its style and spirit have transformed dramatically, especially through the impact of iconic female performers. From the graceful classical moves of earlier eras to the high-energy, global fusion routines of today, Bollywood dance reflects the changing tastes of society and the film industry. In the late 20th century, Madhuri Dixit emerged as a symbol of Bollywood’s dance excellence, captivating audiences with her expressions and technique. Fast forward to the 21st century, and performers like Nora Fatehi are redefining dance with international flavors and internet-fueled popularity.
This journey “from Madhuri to Nora” is not just about two individuals, but about how Bollywood’s dance styles, choreography, and cultural significance have evolved from one era to another. It’s a story of tradition meeting innovation, where Kathak and folk dances gave way to hip-hop beats and bellydance shimmies, and where dance went from being a part of films to a phenomenon influencing fashion, social media, and global pop culture.
To understand this evolution, it helps to look at the major eras of Bollywood dance and the leading ladies who defined them. Below is a brief overview of how Bollywood dance has changed across different periods, focusing on the female dance icons, the dominant styles of their times, and some of the songs that became milestones:
| Era | Leading Dance Icons (Female) | Dominant Dance Styles | Iconic Dance Numbers |
|---|---|---|---|
| 1970s–1980s (Before Madhuri) | Helen, Zeenat Aman, Sridevi | Cabaret club dances, Disco, Classical fusion | “Piya Tu Ab To Aaja” (Helen, cabaret), “Hawa Hawai” (Sridevi, folk-fusion) |
| 1990s (Madhuri’s Era) | Madhuri Dixit, Sridevi, Karisma Kapoor | Bollywood classical & folk fusion; expressive dance | “Ek Do Teen” (1988), “Dhak Dhak Karne Laga” (1992) |
| 2000s (New Millennium) | Aishwarya Rai, Rani Mukerji, Kareena Kapoor | A mix of classical elegance with modern moves | “Dola Re Dola” (2002), “Kajra Re” (2005) |
| 2010s (Item Number Boom) | Katrina Kaif, Deepika Padukone, Malaika Arora | Western influences (hip-hop, belly dance); high-energy item songs | “Sheila Ki Jawani” (2010), “Chikni Chameli” (2012), “Munni Badnaam Hui” (2010) |
| 2020s (Global Era) | Nora Fatehi (plus rising dance specialists) | Global fusion styles; viral dance trends | “Dilbar” (2018), “Garmi” (2020), “Manike” (2022) |
Each era built upon the previous one, carrying forward the naach-gaana (dance-song) tradition but adding new flavors. Let’s dive deeper into these eras, focusing on how the female dancers, their choreography, and the cultural impact of their dances have changed Bollywood’s face over time.
Bollywood Dance in the Madhuri Dixit Era (1980s–1990s)
The late 1980s and 1990s were a golden age of Bollywood dance, and at the forefront was Madhuri Dixit, often hailed as the “Dancing Queen of Bollywood.” Madhuri’s timing was perfect: she arrived after legends like Helen (famous for 70s cabaret numbers) and Sridevi (who dazzled the 80s with her charisma) had set the stage for female dance stars. Yet Madhuri managed to outshine everyone with her unique combination of technical skill and emotive expression.
Madhuri Dixit was trained in the Indian classical dance form Kathak, and this training gave her movements grace and precision. However, when she entered films, she had to adapt to the looser, more eclectic style of Bollywood dancing. With the guidance of veteran choreographer Saroj Khan, Madhuri learned how to fuse her classical foundation with Bollywood’s flair. Saroj Khan became a mentor to Madhuri and crafted many of her famous routines. This collaboration produced some of the most iconic dance sequences in Indian cinema, where expressive eyes, swift footwork, and graceful mudras (hand gestures) combined to tell a story through dance.
One of the major turning points was the song “Ek Do Teen” from Tezaab (1988). Choreographed by Saroj Khan and performed by a young Madhuri, this energetic number showcased Madhuri’s dazzling smile, precise footwork, and infectious energy. The song became an overnight sensation across India. People who had never set foot in a cinema were suddenly humming the catchy refrain and imitating Madhuri’s moves. It wasn’t just a hit song, it was a cultural phenomenon. Madhuri Dixit became a star largely because of this dance, proving that a powerful dance performance could launch an actress’s career in Bollywood.
Throughout the early 90s, Madhuri delivered one hit dance after another. Her expressiveness was unparalleled, she could convey coy innocence, playful mischief, or intense passion all within a three-minute dance sequence. In “Dhak Dhak Karne Laga” (from Beta, 1992), often just called “Dhak Dhak”, she earned the nickname “Dhak Dhak Girl” for making millions of hearts beat along with her sensuous, yet artfully executed moves. Dressed in an orange saree, Madhuri’s graceful hip movements and subtle expressions in that song became the gold standard for on-screen sensuality that was still tasteful. The choreography balanced classical poses with modern sass, and audiences were entranced. Many viewers flocked to theaters repeatedly just to watch that song, demonstrating how a single dance could eclipse even the film’s narrative in popularity.
Another bold number was “Choli Ke Peeche Kya Hai” (from Khalnayak, 1993). This song stirred mild controversy for its suggestive lyrics and Madhuri’s bold dance in a traditional Lehenga-choli outfit. Yet, thanks to Madhuri’s confident performance and Saroj Khan’s choreography, it became a trendsetter. The song’s folk-inspired choreography, with thumkas (hip shakes) and Rajasthani folk dance elements, combined with a modern twist, showed that traditional moves could be presented in a daring new light. Far from being shunned, “Choli Ke Peeche” turned Madhuri into an undisputed dancing superstar. Young women copied her dance steps at every wedding and school function, and even her costume from the song influenced Indian fashion, with the “Choli” style blouse becoming popular at the time.
What made the Madhuri era special was this fusion of classical and folk Indian dance with Bollywood’s growing modern outlook. Her dances often included snippets of classical choreography, a graceful spin here, a kathak hand gesture there, set against catchy filmi music. For instance, in the film Devdas (2002, technically slightly beyond the 90s era, but featuring Madhuri in one of her last iconic roles of that period), she performed “Maar Daala” and “Dola Re Dola” with intricate Kathak moves and expressive storytelling, earning critical acclaim. “Dola Re Dola” in particular was a grand dance duet featuring Madhuri alongside Aishwarya Rai, full of classical poses and synchronized steps. It even won Saroj Khan a National Award for choreography, showing that Bollywood dance could attain formal recognition as an art.
Beyond technique, Madhuri’s cultural impact was immense. She inspired a generation to take up dance. In the 90s, dancing in films was not always taken seriously, but Madhuri changed that perception. Suddenly, being a “great dancer” became a major asset for a Bollywood actress. Film scripts started including at least one special dance number to showcase the heroine’s talent, often referred to as the “Madhuri magic”. Her popularity also meant that choreographers gained new respect and prominence, since fans began to understand the role of a choreographer in creating magic on screen. Saroj Khan, for example, became a celebrity in her own right, largely due to her work with Madhuri (and Sridevi before her).
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Madhuri Dixit’s era cemented the Bollywood dance formula: an engaging mix of Indian classical/folk foundation with filmi showmanship, carried by the charisma of a star dancer. Her success proved that dance could drive a film’s success and even shape national pop culture. As the 90s gave way to the 2000s, the stage was set for further evolution. New faces would take Bollywood dance in different directions, but they all danced in the footsteps of the path Madhuri carved.
Transition to the 2000s: New Styles and New Faces
As the new millennium arrived, Bollywood dance continued to evolve with fresh influences and a batch of talented female performers who carried forward the legacy of the 90s. The early 2000s saw a blend of continuity and change: actresses still performed classical-inspired dances in films, but there was also a noticeable shift towards more Westernized choreography and modern music. This transition period bridged Madhuri’s classical grace with the contemporary beats that would soon dominate Bollywood.
One of the standout figures of the 2000s was Aishwarya Rai. Crowned Miss World 1994, Aishwarya entered Bollywood and soon proved that her talents went beyond just a pretty face; she could dance with exceptional elegance. With a background in classical dance (she had trained in Bharatanatyam in her teens), Aishwarya brought a Madhuri-like polish to classical and folk numbers. For example, in “Nimbooda Nimbooda” from Hum Dil De Chuke Sanam (1999), a film by Sanjay Leela Bhansali, she performed a lively Rajasthani folk dance with swift footwork and joyful expressions, endearing herself to audiences. Her statuesque presence, combined with precise movements, made songs like “Nimbooda” and later “Dola Re Dola” (Devdas, 2002) absolutely mesmerizing.
In Devdas, as mentioned earlier, Aishwarya held her own dancing alongside Madhuri Dixit, proving herself a worthy successor in the line of dancing divas. That song, set in a grand mansion with both actresses performing synchronized classical choreography in heavy saris, became a classic. It showed two eras of talent blending seamlessly: Madhuri’s experienced grace and Aishwarya’s youthful elegance.
However, the 2000s were not just about classical dances. This decade saw Bollywood music and dance absorbing global trends much more visibly than before. Pop and hip-hop influences from MTV culture, which had exploded in India by the late 90s, started seeping into film choreography. A pivotal figure in this stylistic shift was choreographer Shiamak Davar. He introduced contemporary jazz and modern dance techniques to Bollywood. In Yash Chopra’s film Dil To Pagal Hai (1997, just on the cusp of the new decade), Shiamak’s choreography for Madhuri Dixit and Karisma Kapoor marked one of the first times western-style stage choreography (with dancers in spandex, Jazz hands, etc.) was depicted in a mainstream Hindi film.
The movie’s plot itself was about a dance troupe, reflecting how dance was becoming central to storytelling. Madhuri’s character represented Indian classical dance, while Karisma’s character was a modern dancer, and through the film, both styles were celebrated and fused. This was a metaphor for Bollywood itself at the turn of the century: a fusion of East and West.
New female stars of the 2000s embraced this fusion. Rani Mukerji and Preity Zinta, for instance, may not have been classically trained like their predecessors, but they brought vivacity and attitude to their dances, suiting the more free-form choreography of the time. In the song “Koi Mil Gaya” from Kuch Kuch Hota Hai (1998) or “Bumbro” from Mission Kashmir (2000), Preity danced with bubbly energy, blending Kashmiri folk moves with Bollywood freestyle. Rani Mukerji’s “Nach Baliye” in Bunty Aur Babli (2005) saw her tapping into a quirky retro vibe. These dances were less about technical perfection and more about a natural, relatable style that made the audience want to get up and dance along.
Another trend was the rise of the “item number” culture in the 2000s. An item number is a catchy, upbeat song in a film, often featuring a special appearance by a performer, usually separate from the main plot, purely to entertain and wow the audience. While item songs had existed in earlier decades (Helen basically made a career of them in the 60s-’70s), the 2000s mainstreamed them in a new way. Big stars and new talents alike became famous for single-song appearances that sometimes overshadowed the film itself. For female performers, this opened a new avenue: you didn’t even have to be the film’s heroine to become the talk of the town; one spectacular dance number could do it.
For example, Malaika Arora made an unforgettable mark with “Chaiyya Chaiyya” in 1998 (dancing on a moving train with Shah Rukh Khan) and later with “Munni Badnaam Hui” in Dabangg (2010). Though Malaika wasn’t acting as the lead in those films, her dance performances became cultural sensations. “Chaiyya Chaiyya” in the late 90s combined a sufi folk tune with choreographed moves on top of a train, a visual and musical extravaganza that still ranks among Bollywood’s most iconic dance visuals. By the time “Munni Badnaam” hit in 2010 (we’ll discuss the 2010s in the next section), item songs were firmly a part of Bollywood’s formula, but it was in the 2000s that this formula took shape.
Another star who rose in the late 2000s with a reputation for dancing was Kareena Kapoor. Initially, Kareena was known more for acting, but she took on dance challenges that earned praise. In “Kajra Re” (2005), though it was Aishwarya Rai who performed that particular song as an item number, Kareena soon had her own hits like “Yeh Ishq Haaye” (a playful number from Jab We Met, 2007, blending a Kashmiri setting with Bollywood choreography) and later “Chammak Challo” (2011, a collaboration with American R&B singer Akon, showing global fusion). By embracing these songs, actresses like Kareena demonstrated that to stay on top, one had to continuously evolve their dance style with the times.
The 2000s also brought larger-scale productions for dances: grand sets, dozens of backup dancers in coordinated costumes, and a glossy, music-video style filming. Choreographer Farah Khan became renowned in this era for staging spectacular dance numbers that were visually lavish. Farah, interestingly, was one of the few prominent female choreographers aside from Saroj Khan at the time. She had a knack for blending humor and storytelling into her dances. In 2004, Farah Khan even directed the film Main Hoon Na, which included the song “Chale Jaise Hawaaien”, featuring lead actress Sushmita Sen grooving in a sari with a modern twist, exemplifying how even a traditionally dressed heroine could do MTV-style moves.
Farah also choreographed “Kajra Re” (mentioned above), where Aishwarya’s teasing expressions and elegant yet sultry moves with two Bachchans (Abhishek and Amitabh) made the song a nationwide hit. By the mid-2000s, any Filmfare award show or TV countdown would be incomplete without a flashy dance number by the leading ladies of Bollywood.
The early 2000s were a transitional bridge in Bollywood dance. The era retained the soul of Indian dance (with classical and folk elements still present, thanks to actresses like Aishwarya and the choreographers who valued those roots) but also embraced the body of global dance trends (with Western music, new choreographic techniques, and the rise of special item songs). Female dancers expanded their repertoire, one film could feature the heroine in a traditional dance sequence in one scene and a club dance in another. This versatility set the stage for the next phase, where Bollywood dance would go truly global and the energy levels would shoot through the roof.
The Era of Item Numbers and High-Energy Dance (2010s)
By the 2010s, Bollywood dance had kicked into an even higher gear. This decade was defined by high-energy choreography, a fusion of international dance styles, and the full flourish of the item number era. Female performers were now frequently at the center of big dance spectacles, whether as film’s leading ladies or as special appearances purely for the dance.
One name that became nearly synonymous with Bollywood dance in the 2010s is Katrina Kaif. Katrina, who started her career in the mid-2000s, truly came into her own in this decade. She may not have had formal dance training from childhood, but Katrina proved to be a hardworking dancer who transformed herself into one of the sharpest movers in the industry. Her dances combined impeccable timing, athletic moves, and a newfound fluidity that impressed audiences and critics alike. Songs like “Sheila Ki Jawani” (from Tees Maar Khan, 2010) were game-changers. Choreographed by Farah Khan, “Sheila Ki Jawani” showcased Katrina’s belly dance-inspired moves and her ability to carry a song entirely on her charisma.
The choreography had a mix of Bollywood flair and Middle Eastern shimmy, and Katrina’s hip isolation moves in that number became a talking point; it was sensuous yet extremely polished. The song’s popularity was staggering; it turned into a club anthem, and even aunties at family gatherings could be seen attempting the signature moves (albeit more modestly!).
Following that, Katrina delivered one hit after another: “Chikni Chameli” (2012) saw her take on a fast-paced Marathi folk-style item song, where she danced with unbelievable energy, doing rapid-fire footwork and bold thumkas. This song proved Katrina could adapt to indigenous Indian styles too, not just Western moves. Then “Kamli” (from Dhoom 3, 2013) took things to another level. Here, Katrina performed a very acrobatic dance, incorporating street dance and gymnastics elements (like backflips and aerial flips on hoops), leaving audiences awestruck at her dedication.
By the mid-2010s, Katrina Kaif was widely acknowledged as one of Bollywood’s top dancers, and her presence in a film’s song almost guaranteed the song’s success. Importantly, her example demonstrated how Bollywood’s leading ladies were now expected to handle complex choreography that might include anything from hip-hop to acrobatics. The technical bar for dance had been raised.
But Katrina was not alone. Actresses like Deepika Padukone and Priyanka Chopra also contributed to the era’s dance landscape with distinct styles. Deepika balanced traditional and modern: she did an authentic garba (Gujarati folk dance) in “Nagada Sang Dhol” (from Goliyon Ki Raasleela: Ram-Leela, 2013) with such perfection that the song became an instant garba classic for Navratri festivals; yet she also sizzled in a very modern cabaret-style number “Lovely” (from Happy New Year, 2014) where she played a bar dancer with a mix of hip-hop and jazz moves.
Priyanka, on the other hand, did a sensuous mujra-inspired dance “Ram Chahe Leela” (also from Ram-Leela, 2013), blending classical gestures with a provocative modern presentation. And let’s not forget Malaika Arora in this era, after “Munni Badnaam” in 2010, she continued to be the go-to for item songs, symbolizing that the industry now had specialist dance performers whose cameo was a highlight itself.
During the 2010s, choreography in Bollywood became a melting pot of styles. It wasn’t unusual to see hip-hop moves, Latin dance steps, belly dancing, classical Indian dance, and even ballet all within the span of a single film or even a single song. Credit for this also goes to a new generation of choreographers that emerged. Choreographers like Remo D’Souza, Bosco-Caesar (Bosco Martis and Caesar Gonsalves), Ganesh Acharya, and Vaibhavi Merchant were pushing creative boundaries. For example, Vaibhavi Merchant (who had choreographed “Kajra Re” earlier) gave us “Kamli” and also something like “Mashallah” (from Ek Tha Tiger, 2012) where Katrina did a bellydance-influenced routine.
Ganesh Acharya, despite being known for massy, fun moves, created extremely fast choreography in “Chikni Chameli” that left people breathless just watching it. Remo D’Souza, coming from a hip-hop background, choreographed modern dance sequences and even went on to direct India’s first 3D dance films (ABCD (Any Body Can Dance) in 2013 and its sequel in 2015), which included several actresses and female dancers in prominent roles.
A major contributor to the dance boom of the 2010s was the influence of dance reality shows and competitions on television. Shows like Dance India Dance, Jhalak Dikhhla Jaa, Nach Baliye, and later Dance Plus and India’s Best Dancer became hugely popular in India starting around 2006 and booming by the 2010s. These shows brought trained dancers from all over the country (and even abroad) into the limelight. Many of these contestants and winners later joined Bollywood as background dancers or assistants, upping the overall skill level visible in film songs.
Moreover, reality shows introduced Bollywood audiences to a wider range of dance genres, from popping, locking, and b-boying (breakdance) to contemporary lyrical and salsa. So, when film choreographers inserted a bit of hip-hop swagger or an aerial contemporary lift in a Bollywood song, audiences now recognized and appreciated those forms.
Perhaps equally important, reality shows turned choreographers themselves into celebrities and trendsetters. Geeta Kapur, for example, became a household name as “Geeta Maa” on Dance India Dance, and her styles influenced many young dancers. Saroj Khan, the veteran, even judged a few shows, reinforcing how the old and new schools of dance were interacting. And interestingly, Madhuri Dixit, after spending some years in the US, returned to India and became a judge on Jhalak Dikhhla Jaa for multiple seasons in the 2010s.
There was something poetic about Madhuri mentoring and judging a new generation of celebrity dancers on TV; it symbolized how the baton was being passed, and how much dance had become a mainstream obsession for the public. It was no longer confined to movies – dance was in living rooms every weekend via reality TV, and everyone had an opinion on the latest performances and choreography.
Back in films, the late 2010s continued the trend of big item numbers and dance-centric films. We saw female dancers embracing styles from all over. For instance, Jacqueline Fernandez (an actress known for her dance skills) did a pole dance number in “Chandralekha” (2017) and a remake of “Ek Do Teen” in 2018 (as a tribute to Madhuri’s original, though it received mixed reviews, it showed the iconic status of that song). Shraddha Kapoor, another popular actress, took on challenging hip-hop choreography in Remo D’Souza’s dance film ABCD 2, surprising many with her adaptability. This era also had Bollywood dance teams performing at international stages, an example being the troupe from the film Dil Dhadakne Do (2015) performing on a cruise ship setting, or showcases at award shows abroad.
In terms of music, Bollywood songs in the 2010s often featured a lot more electronic beats and international arrangements. This naturally influenced dance styles, you’d see a very Punjabi bhangra step suddenly transition into a salsa twirl, or a classical Kathak spin concluding with a hip-hop body roll, all within the same song. Audiences embraced this fusion wholeheartedly, and Bollywood dance became increasingly about versatility and spectacle.
By the end of the 2010s, one could say Bollywood dance had few limits; it was high on energy, open to any influence, and dancers (especially female stars) were expected to be as fit and flexible as athletes. At the same time, the essence, that joyous expression and storytelling through movement, remained intact, tying it back to the legacy of the likes of Madhuri. Little did we know that the next big shake-up would not come from within Bollywood alone, but from the broader world and technology, as the 2020s ushered in the age of social media influence on dance, embodied by a star like Nora Fatehi.
Nora Fatehi and the Global Dance Revolution (2020s)
Nora Fatehi is performing with her signature confidence and belly dance flair, a style that has brought global attention to Bollywood dance.
As Bollywood entered the 2020s, the landscape of dance saw yet another exciting shift. The influence of the internet, especially platforms like YouTube and Instagram, began to rival the influence of films themselves in popularizing dance. And one name that surged to prominence in this environment is Nora Fatehi. Nora Fatehi’s rise to fame is a story that encapsulates the globalized, digital-era Bollywood dance revolution.
Nora Fatehi is a Canadian-Moroccan dancer and actress who made her way into Bollywood in the mid-2010s. Unlike the traditional path of most Bollywood stars, Nora was not initially known for acting or singing; she was known first and foremost for her dancing. In fact, Nora herself has stated that she had no formal dance training; she honed her skills by teaching herself through online videos and a natural passion for dance. This background is something new in Bollywood’s history, a foreign-born artist becoming a household name in India largely through dance prowess and internet visibility rather than through a long filmography. It shows how Bollywood dance has become a global magnet for talent and attention.
Nora’s breakthrough moment came with the song “Dilbar” in 2018 (from the film Satyameva Jayate). This song was a revamped version of a 1990s hit, but Nora’s hypnotic belly dancing moves gave it completely new life. The choreography incorporated Middle Eastern dance elements, fluid hip circles, a belly roll, and the classic shimmy, fused with Bollywood glamour. Audiences were spellbound; many had never seen this style executed with such perfection in a Hindi film song. The result was explosive: “Dilbar” became an instant chartbuster not just in India, but internationally. On YouTube, the song racked up millions of views within a day of release, breaking records.
In fact, it was reported that “Dilbar” was among the first Hindi film songs to trend at #1 globally on YouTube’s charts, even outperforming popular Western pop songs that week. This was a staggering moment, a dance number from Bollywood topping global viral charts, underscoring how the reach of Bollywood dance had expanded worldwide via social media. Nora Fatehi was at the center of this, and she gained millions of fans virtually overnight.
Following Dilbar, Nora became the go-to performer for electrifying dance numbers. She delivered back-to-back hits: “O Saki Saki” (2019), a sensuous dance with a mix of belly dance and hip-hop steps, and “Garmi” (2020), where her urban dance moves and a now-famous hook step (fanning herself as if it’s hot, in sync with the lyrics) sparked yet another viral trend. In “Garmi”, Nora showed off fierce hip-hop moves, proving her versatility beyond belly dance. Another notable performance was “Naach Meri Rani” (2020), a music video (non-film) where she danced robotically as a futuristic character, again highlighting how Bollywood dance was now transcending film and moving into independent music content driven by YouTube.
Nora Fatehi’s style is emblematic of the global fusion that Bollywood dance has embraced. She blends Middle Eastern bellydance, Latin dance flair, and Western urban dance with Bollywood aesthetics. For instance, in the song “Kamariya” (from Stree, 2018), she did an energetic dance with touches of Afro vibes and Indian naagin (serpent dance) moves, making it a delightful mix. Her performances are usually very technically demanding; she’s known for precise isolations (moving one part of the body independently, a key element of belly dance and hip-hop) and can execute a split or a flip effortlessly within a routine. This level of dance athleticism and precision sets a new bar for Bollywood performers.
Culturally, Nora Fatehi represents a new kind of Bollywood dance icon, one whose fame was built in the age of Instagram Reels and TikTok challenges. Every time Nora releases a dance song, you can be sure it will spark off dozens of dance cover videos by fans and dance enthusiasts across the world, uploaded on social media. For example, the hook step of “Dilbar” (that swift belly dance move dropping to the floor) became a challenge that many tried to replicate on Instagram. The “Garmi” signature step (where Nora and co-dancer Varun Dhawan do a low squatting move and slide) also went viral in dance challenge videos.
This interactive engagement with audiences is something new that previous eras didn’t have. It turns each Bollywood dance into not just a moment in a movie, but a shareable, global event. People from diverse countries, whether it’s young girls in Egypt, dance crews in the United States, or students in Indonesia, film themselves dancing to Bollywood numbers, effectively globalizing what was once a very Indian cultural product.
Nora’s global influence also led to actual international collaborations, a sign of Bollywood dance’s spreading appeal. She performed with and choreographed for international artists; for instance, she appeared in a music video with Moroccan hip-hop group Fnaïre, and there was a collaboration with American singer Jason Derulo in 2022 where they combined Bollywood and pop influences. Nora even became a judge on Indian dance reality shows like India’s Best Dancer and Dance Deewane Junior, despite not being of Indian origin, a testament to how well she had been embraced by Indian audiences and how her expertise was valued.
It’s important to note that Nora Fatehi is just one prominent face of a broader trend. The late 2010s and 2020s have also seen many specialist dancers and crews gaining fame. The film Street Dancer 3D (2020) cast several real-life dance champions (including female dancers like Shakti Mohan and international dancers) alongside Bollywood actors, blurring the line between film actors and professional dancers. Indian dance groups have won global contests (for example, The Kings, a Mumbai hip-hop group, won NBC’s World of Dance in 2019) and such achievements feed back into Bollywood, encouraging even more intricate choreography and respect for technique.
With social media and YouTube in the mix, dance choreography in Bollywood has become more experimental. Choreographers now know their work will be dissected frame-by-frame by dance lovers online. This has led to incorporating unique signature steps (so that a song is remembered by that one hook move) and often higher complexity, since dance tutorials and rehearsal videos also get released, and many fans try to learn the exact choreography. In Nora’s case, her rehearsal videos, where she practices the moves full-out, often go viral as well, showing the behind-the-scenes effort and further inspiring dancers.
Finally, Nora Fatehi’s success has an industry impact: it signals that Bollywood is open to talent from anywhere in the world if you can connect with the audience. It’s a two-way street; Bollywood dance has gone global, and global dancers have come to Bollywood. There’s a kind of cross-pollination happening. For Indian audiences, seeing a foreign artist excel at Indian-style dancing (and even speak Hindi in interviews) is a source of pride and novelty. For international viewers, seeing someone like Nora provides an accessible entry point into enjoying Bollywood songs without needing to know the Hindi language; the dance itself is the language.
In essence, the Nora Fatehi era of Bollywood dance is defined by globalization, digital influence, and technical excellence. Bollywood dance is now a worldwide phenomenon, you might hear a Bollywood song playing in a club in London or see a fusion Bollywood dance workshop in New York. And the credit goes to the performers who have continually reinvented the art, from Madhuri’s traditional-meets-modern charm to Nora’s international fusion flair.
To highlight just how much has changed from Madhuri’s time to Nora’s time, here is a quick comparison of these two icons and what they represent in Bollywood dance:
| Aspect | Madhuri Dixit (1990s) | Nora Fatehi (2020s) |
|---|---|---|
| Dance Background | Formally trained in Kathak (classical Indian dance); brought classical grace into Bollywood routines. | No formal training, self-taught by watching videos, brings a natural fusion of belly dance and hip-hop into Bollywood. |
| Signature Style | Graceful, expressive dance with classical and folk influences (emphasis on facial expressions and elegant hand movements). | High-energy, technical dance with global influences (belly dance isolations, urban dance moves, bold athletic steps). Facial expressions are present, but the focus is on body movement precision. |
| Iconic Songs | “Ek Do Teen”, “Dhak Dhak Karne Laga”, “Dola Re Dola”, known for classical poses, folk steps, and expressive adaayein (gestures). | “Dilbar”, “O Saki Saki”, “Garmi”, known for belly dance moves, dramatic hook steps, and a mix of Western dance forms. |
| Role in Industry | Leading actress who was often the centerpiece of her film’s dance numbers; proved that a heroine’s dance could carry a film to success. | Specialist dancer-actress who often appears in films specifically for a dance number; she proved that one can build a huge career predominantly as a dance performer. |
| Audience Reach | Huge popularity in India and with the Indian diaspora; fans waited for songs on TV or in theaters, with imitation mostly at local events. Some global recognition in the pre-Internet era, but limited. | Instant global reach through YouTube and Instagram; fans worldwide learn her choreography through online platforms. Bollywood dance moves can trend internationally (e.g., YouTube challenges). |
This comparison shows that while both Madhuri and Nora are phenomenal dancers, the context in which they became icons is very different. Yet, there’s a connecting thread: Bollywood dance remains a celebration of joy, rhythm, and the star power of its performers, even as it adapts to new influences.
Choreographers: The Masterminds Behind the Moves
No discussion of Bollywood dance evolution would be complete without acknowledging the genius of the choreographers who crafted these iconic routines. While the actors and dancers shine on screen, it is the choreographers, often working behind the scenes, who conceive the steps, the formations, and the overall vision of a dance sequence. Over the eras from Madhuri to Nora, a few choreographers stand out as game-changers, and their collaboration with female stars has been crucial in shaping the “changing face” of Bollywood dance.
In the 1980s–90s, Saroj Khan was the reigning queen of choreography. She was one of the first choreographers in Bollywood to become a star in her own right, and much of that was due to her work with leading ladies. Saroj Khan’s style was deeply rooted in Indian traditions, she had a knack for extracting graceful poses and nuanced expressions from her performers. With Sridevi, she created magic in dances like “Main Teri Dushman” (the famous snake dance in Nagina, 1986) and “Hawaa Hawaai” (Mr. India, 1987). But it was her partnership with Madhuri Dixit that truly revolutionized Bollywood dance. Saroj understood Madhuri’s classical base and taught her how to adapt it for Bollywood’s camera. She would emphasize “ada” (graceful style) and expression, telling Madhuri where to add a wink, an eyebrow raise, or a playful smile. Saroj’s choreography for “Ek Do Teen” turned a simple counting song into an unforgettable spectacle.
She was also behind “Dhak Dhak”, “Choli Ke Peeche”, “Dola Re Dola”, and countless others. Her ability to blend folk dance steps (like Rajasthani or Maharashtrian moves) with filmi sensibility made the songs accessible and catchy. Saroj Khan often said she choreographed keeping the front-benchers (common folk in theaters) in mind, meaning she knew what would make the masses whistle and clap, yet she maintained artistry. Her legacy lives on; she mentored many younger choreographers and was honored with awards (including three National Awards). When she passed away in 2020, tributes poured in from every Bollywood dancer and choreographer, all acknowledging that Saroj ji laid the foundation for Bollywood’s signature dance language.
Moving into the late 90s and 2000s, Farah Khan emerged as another influential choreographer, bringing a different flavor. Farah, a contemporary of Saroj but with a very different approach, loved big, theatrical group numbers. She grew up idolizing Bollywood and Western musicals, and it showed. Farah’s choreography in songs like “Chaiyya Chaiyya” (1998) had a grand vision; who else would think to put dancers on top of a train winding through mountains? That visual became iconic. In “Ek Pal Ka Jeena” (2000, though featuring a male star, Hrithik Roshan, the signature chest-thump move became a nationwide trend thanks to Farah’s keen sense of hook steps.
For female stars, Farah created “Kajra Re” with Aishwarya Rai, where she balanced the old-world mujra style with a modern club vibe, making it a cross-generational hit. Farah also often injected humor and narrative into dances. For instance, “Deewangi Deewangi” in Om Shanti Om (2007) featured nearly every 2000s Bollywood star in a celebratory dance cameo, choreographed brilliantly by her. She eventually became a successful film director, indicating how choreography had elevated her status in the industry.
Vaibhavi Merchant, who comes from a family of choreographers (her grandfather choreographed classics in the 50s), rose to prominence with “Dholi Taro Dhol Baaje” (from Hum Dil De Chuke Sanam, 1999), a garba number featuring Aishwarya Rai. Vaibhavi infused authenticity into that folk dance and won awards for it. She later choreographed “Aaja Nachle” (2007), the comeback song for Madhuri Dixit, which fittingly was about celebrating dance. Vaibhavi’s style often blends classical or folk with contemporary smoothly, and she’s behind many of Katrina Kaif’s numbers like “Sheila Ki Jawani” (as co-choreographer) and “Kamli”. She is known for making her choreographies meticulous and rehearsing stars to perfection.
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The 2000s also welcomed Prabhudeva, primarily a South Indian dance icon who occasionally choreographed in Bollywood. When he did, he often gave a distinct flavor, like the complex dance steps in “Kay Sera Sera” (2000) where he matched steps with Madhuri, or later directing the dance-rich film Rowdy Rathore (2012). Prabhudeva’s style is more free-flowing, and he’s known for lightning-fast footwork. When actresses danced under his direction, they had to step up their game to catch up with his speed and precision.
In the 2010s, choreographers from reality show backgrounds made a huge mark. Remo D’Souza, who had been an assistant in the 90s, became famous on TV and brought street styles into Bollywood. He choreographed for actresses like Deepika (“Tattoo Waaliye”) and directed the ABCD movies, which gave female dancers a platform equal to male dancers. Bosco-Caesar duo brought a youthful vibe to songs (they did “Senorita” in Zindagi Na Milegi Dobara, 2011, mixing Spanish flamenco with Bollywood moves). Ganesh Acharya, though he appears jovial and even did comedic item songs himself, is a master at mass-appeal choreography – he made a slightly stiff actress like Kareena Kapoor loosen up in “Mauja Hi Mauja” (2007) and crafted the sensational “Beedi Jalaile” (2006) for Bipasha Basu, a song that mixed rustic folk dance with earthy sensuality.
It’s also worth noting the women choreographers beyond Saroj and Vaibhavi: Geeta Kapur, who trained under Farah, carved a niche in reality shows and Bollywood (“Sheila Ki Jawani” had her as associate). Sneha Kapoor and Kruti Mahesh are younger names. Kruti won a National Award for choreographing “Ghoomar” (Padmaavat, 2018) wherein Deepika Padukone performed an authentic Rajasthani folk dance with heavy costume and jewelry yet flawless grace. These women continue the legacy of showing that choreography isn’t a male-dominated field in Bollywood; in fact, some of the best dances have come from female-led visions.
The role of choreographers in Bollywood’s dance evolution has been paramount. They are the ones who blend the technical with the popular, deciding which folk step might suit a heroine’s posture, or which hip-hop move can be Indianized to match a Hindi song beat. They also train the actors, sometimes from scratch. For example, when a non-dancer like actress Yami Gautam had to do a dance number, it was the choreographer who worked patiently to make her confident on screen. Or when Nora Fatehi collaborates with a choreographer for a new song, they exchange ideas to bring something fresh that hasn’t been seen before.
In modern Bollywood, choreographers also take into account the cinematography of dances, working with camera directors to plan elaborate continuous shots or rapid cuts that enhance the dance (the way the camera swirled around Madhuri in “Maar Daala”, or the slow-motion leaps in modern songs). They have to think of the live audience in theaters and the millions who will watch on smartphones.
From Saroj Khan’s traditional yet evergreen moves to Remo D’Souza’s contemporary mashups, choreographers have continually reinvented Bollywood dance. Each era’s choreographers passed the baton to the next, ensuring that the dance routines remained fresh, challenging, and captivating. And crucially, they tailored their art to the strengths of female performers of their time, highlighting Madhuri’s expressions, Aishwarya’s elegance, Katrina’s energy, or Nora’s technical prowess, giving each generation of dancers the chance to shine and leave their mark on Bollywood history.
Reality Shows and Social Media: Dance Goes Mainstream
By the 2010s and into the 2020s, two forces outside of traditional film production have massively influenced Bollywood dance: television reality shows and social media platforms. These forces democratized dance, turning it into a widespread national (and global) pastime, and also circled back to impact how dances were choreographed and who got opportunities in Bollywood.
Dance reality shows in India began modestly, but with programs like Jhalak Dikhhla Jaa (the Indian version of Dancing with the Stars) and Dance India Dance (DID), a real “dance revolution” took off. On these shows, dance was presented as a serious competition, with celebrity judges, voting audiences, and professional mentors (choreographers) training contestants. Suddenly, dancers from small towns, who had only practiced in local studios, were showcasing hip-hop flips or Kathak footwork on national TV.
Viewers sitting at home, who may never have watched a full three-hour movie, were now tuning in every week just to watch dance performances of all kinds. This made dance a dinner-table conversation topic, people discussed the merits of a contemporary routine versus a locking-popping act, or which contestant delivered the perfect taandav (a vigorous classical dance) and which nailed a Michael Jackson-style pop number. Essentially, the general public became more educated and appreciative of dance variety.
These shows also made dance aspirational for the youth. Many kids began enrolling in dance classes, not just to imitate Bollywood heroes, but to master a style and perhaps audition for these shows. Dance became a viable career path in a way it hadn’t been before, as a choreographer, a teacher, or a performer. And indeed, some contestants from shows ended up in Bollywood films or choreography teams. For example, Shakti Mohan, who won DID Season 2, went on to perform in songs and now choreographs and runs a dance company; Lauren Gottlieb, an American dancer who participated in Jhalak, got cast in ABCD movies; and several male contestants like Dharmesh, Raghav, Puneet became Bollywood choreographers or actors. On the judging panel side, film stars like Madhuri Dixit, Shahid Kapoor, and Nora Fatehi herself have served as judges, blending the film and TV dance worlds.
Reality shows also brought choreographers like Remo D’Souza, Terence Lewis, Bosco-Caesar, and Geeta Kapur into the limelight as on-screen mentors. They became personalities with their own fan following. A choreographer like Terence, known for contemporary dance, could directly educate audiences about what contemporary dance is and how a Bollywood song can be given a contemporary twist. This meant that when such a fusion appeared in a movie, audiences no longer found it alien. In essence, reality TV expanded the palate of Bollywood dance consumers.
Meanwhile, social media and the internet have taken the dance mania global. YouTube deserves a special mention, it’s the new “stage” for Bollywood dance. In the past, a film’s dance number was seen in theaters and maybe on TV. Now, a huge portion of a song’s views come from YouTube, where it’s often released as a standalone music video. This has some interesting effects:
- The success of a film can sometimes be heavily influenced by the success of its song video online. We saw this with “Dilbar” (discussed earlier), where the views were astronomical. Producers now aim for a viral hit song to boost their film’s profile. This means choreographers and directors put extra effort into creating eye-catching choreography that will prompt people to hit replay.
- Dance cover culture: On platforms like YouTube and Instagram, for every famous Bollywood song, you’ll find hundreds of cover videos. These range from highly polished dance group performances to a teenager dancing in their living room. For example, after “Kala Chashma” (a 2016 song featuring Katrina Kaif) had a resurgence in 2022 through a viral trend, you could find videos of Swiss police officers, US wedding parties, and African dance crews all doing their own jig to the song. These cross-cultural dance covers show how Bollywood beats can get anyone grooving, even if they don’t understand the lyrics. Social media has essentially turned Bollywood dance into a global dance style, much like hip-hop or ballet, that people actively learn and perform regardless of their background.
- Many Bollywood actresses and dancers maintain active social media accounts where they share dance snippets, rehearsals, or fun reels. Madhuri Dixit, for instance, launched an online dance academy, “Dance With Madhuri,” where anyone, anywhere, can learn steps to Bollywood songs or even classical dances through online videos. She often posts short videos of herself performing trending dance challenges, delighting fans who get to see the icon still dancing brilliantly. Shilpa Shetty, another actress known for dance in the 2000s, posts her dance and yoga videos too. Jacqueline Fernandez has uploaded choreography videos of her item songs to engage fans. This direct connection keeps audiences invested in dance beyond just the films.
- The concept of the “hook step” has become important in choreography, partly because of social media. A hook step is a signature move repeated in a song (think of Madhuri’s serpentine hand wave in “Ek Do Teen” or the lasso move in “Choli Ke Peeche”). Now, hook steps are almost engineered to be TikTok-friendly. Choreographers know that if they create a step that is catchy and simple enough, thousands of people will imitate it online, giving the song free publicity. The “Ghungroo” song (2019) had a simple twist move that many replicated, “Dus Bahane 2.0” (2020) had a shoulder shimmy challenge, and so forth. In Nora Fatehi’s “Dance Meri Rani” (2021), a move where she does an African dance-inspired hip isolations became a small trend as well.
- Global dance influencers and Bollywood have also started collaborating. Internationally famous dancers on Instagram/YouTube sometimes do Bollywood numbers, for instance, the Quick Style crew from Norway (who went viral in 2022 for dancing to an old Bollywood song “Kala Chashma”) later visited India and even created content with Bollywood stars. Such interactions further blend global styles with Bollywood moves, generating new fusion forms.
The impact of reality TV and social media on Bollywood dance is also philosophical: it has, in a way, removed some hierarchy. Previously, Bollywood dance was a top-down phenomenon; choreographers and stars introduced moves, and fans copied. Now it’s more of a dialogue. A cool move by some random dancer on Instagram might inspire a film choreographer to incorporate it in the next song. Or a regional dance style that goes viral on YouTube (for example, a folk dance by a group of villagers) might catch a film director’s eye and be featured in a movie to lend authenticity. We live in a time when a dance trend can start anywhere and travel everywhere, including into Bollywood films.
For the performers, social media has provided alternate avenues. Someone like Nora Fatehi greatly benefited from her dance videos trending on social platforms; it gave producers confidence that she could pull crowds. Similarly, choreographers release dance tutorial videos that further increase engagement with the songs. Bollywood songs now often have an official “Dance Challenge” or “Dance Cover Contest” associated with them online.
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Reality shows and social media have democratized and internationalized Bollywood dance. They have created a feedback loop where Bollywood influences global dance and global trends influence Bollywood. Dance is no longer confined to film sets and TV studios; it’s in our hands, literally, as we scroll through reels of people dancing across the world to the same Hindi song beat. This widespread presence of dance has only strengthened Bollywood’s emphasis on creating memorable dance moments, because a hit dance today reverberates far louder and farther than ever before.
A Legacy in Motion: Bollywood Dance Ahead
Bollywood dance has come a long way from the restrained elegance of yesteryears to the dazzling global spectacle it is today. Through all the changes, one thing remains constant: it is ever-evolving, a legacy in motion that carries the imprint of each era’s stars and innovators. From Madhuri Dixit’s era-defining moves to Nora Fatehi’s trailblazing global fusion, each generation of female performers has added new dimensions to what Bollywood dance can be.
What does this rich history mean as we look to the future? For one, the bar for excellence has been set high. Future actresses and dancers in Bollywood will invariably be compared to the likes of Madhuri’s grace, Aishwarya’s poise, Katrina’s agility, or Nora’s explosiveness. This healthy pressure means we can expect even more rigorous training and dedication from upcoming talent. Already, we see young actresses investing serious time in learning multiple dance forms. For instance, newer entrants might train in hip-hop and contemporary as much as in classical dance, aiming to be versatile from the outset.
The influence of global dance forms is likely to deepen. We might see K-pop style synchronized group choreographies in Bollywood songs, or perhaps more collaborations with international artists where a Bollywood heroine might match steps with a Latin American or Western dancer in a music video. The crossovers could go beyond just dance moves, perhaps Bollywood films will start featuring famous international dancers in cameo dance roles (much like how Indian dancers now appear in foreign music videos). The world is growing closer, and Bollywood dance is a friendly ambassador in that closeness, because movement and music cross language barriers easily.
Culturally, Bollywood dance will likely continue to be a mirror to society’s trends and values. In recent times, for example, we’ve seen more inclusion: performances by women that break stereotypes (tomboyish moves, dance-offs with male dancers as equals, etc.), plus female choreographers in the limelight. As conversations around women’s empowerment grow, Bollywood dance also reflects it, heroines leading huge troupes, or dances that celebrate the feminine without objectification. Nora Fatehi’s statement that she keeps her performances “classy, not vulgar, and performance-oriented” indicates a mindful approach to showcasing talent over pure glam appeal. This mindset might encourage future item numbers to focus on skill and art, not just flashiness.
The technological aspect will also play a role. With high-definition cameras, elaborate VFX, and editing techniques, dance sequences can be presented in exhilarating ways. We might see more one-take dance shots (as some songs have attempted, which really puts the performers’ stamina to the test) or cinematography that becomes part of the choreography (drones capturing overhead patterns of dancers, etc.). The way songs are released might also change; perhaps more songs will be released as music videos first (like independent singles) before being incorporated into films, to capitalize on online viewership.
Moreover, Bollywood dance as a global brand could lead to more stage tours and live musicals. In the past, Bollywood stars did world stage tours performing film songs. In the future, one can imagine a Broadway or West End production themed on Bollywood dance or famous Bollywood dancers’ biopics. Madhuri’s life or a fictional story of a Bollywood dancer could very well be adapted into a lavish musical, given the universal appeal of her journey and the dances.
Another exciting prospect is how Bollywood dance interacts with the burgeoning fitness and wellness industry. Zumba and aerobics classes already incorporate Bollywood moves. As dance continues to capture popular imagination, Bollywood stars might launch dance workout regimes, apps, or interactive content, much like how yoga spread globally; dance could be both entertainment and exercise. In India, for many, dance has always been a joyous way to stay fit (weddings are proof, people dancing non-stop!). This could formalize into more structured programs that even export Bollywood dance as a fitness regimen worldwide.
Lastly, the legacy of Bollywood dance is also about remembering its roots while moving forward. There’s a renewed interest among some filmmakers to recreate the old charm, for example, using retro songs or homages to classic dances within new films. We might see a cycle where, after an era of intense Westernization, some films intentionally bring back classical dances, reintroducing them to younger audiences. In recent times, films like Kalank (2019) had Madhuri perform a Kathak-based number, “Tabah Ho Gaye,” reminding everyone that pure Indian classical still holds magic. So the future likely holds a balance of preservation and innovation.
The face of Bollywood dance is always changing, yet it remains familiar, a smiling face that invites everyone to celebrate. The journey from Madhuri to Nora has shown us that dance in Indian cinema is not just entertainment; it’s a cultural force, a language of emotion, and increasingly a global connector. The technical evolution from classical choreography to hip-hop fusion, and the industry evolution from film sets to Instagram feeds, all point to an art form that is dynamic and resilient. Every era’s end is just the beginning of a new rhythm.
As we stand in this moment, one can only imagine the new icons in the making, perhaps a young girl somewhere in India (or outside India!) is now watching Nora’s video or Madhuri’s old song on her phone and dreaming of how she’ll one day create a new move that the whole world will dance to. The stage of Bollywood will be ready for her, as it has been for those before, because the dance goes on, an endless, joyful motion carrying forward the legacy of the past while spinning into the future. Let’s tune in, for the music is still playing and the world is eager to dance along.