USA, December 18, 2011 (cinemanrityagharana.blogspot.com): HPI Note: We came across by chance today this long article on a noted dancer of the 1930-50s, Jack Cole, who had learned–from whom is uncertain–a fair amount of Bharatanatyam dance style. He then developed a form of jazz dancing using some of this style, including for movie dance choreography. This blog, whose author identifies herself only as “Cassidy, a white chick” wrote up a long article on Cole in 2011, along with clips from the old movies, some of which are absolutely fascinating. Her article begins:
Ever heard of choreographer Jack Cole and “Hindu Swing?” Four weeks ago I had not either, but I think this could be one of the grooviest discoveries I’ve ever made on this blog.
While researching films about India and Orientalism for my “Indian Dances in Western Films About India” post series, I came across the article “The Thousand Ways There Are to Move: Camp and Oriental Dance in the Hollywood Musicals of Jack Cole.” Clearly an interesting article just from the title, but as I read it my fascination was piqued when I read that Cole fused ethnic movements (most notably East Indian) into his choreography, started out as a Denishawn dancer, and studied with Uday Shankar! A Hollywood choreographer that studied with Uday Shankar? Tell me more! Tell me more!
The article discussed in detail the number “Not Since Nineveh” that Cole choreographed for the Arabian-themed Hollywood film Kismet (1955) and it emphasized his use of clear signifiers of Indian dance. OK, I figured there would maybe be some Indian-inspired hand gestures, some pretty arm movements, some namaste hands….
but nothing prepared me for THIS:
“Not Since Nineveh” – Kismet (1955) -link to video
I don’t think I’ve ever seen a dance in Hollywood so brilliantly inspired by the geometry and precision of Bharatanatyam! I’m simply in awe. The Indian inspiration coupled with the syncopated jazz music makes for a completely new visual experience.
Much more at “source” above.