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) - Note: If you are unable to see the video due to your country location, please view it here.
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. "Hindu Swing" indeed, though the coinage of the religious term "Hindu" instead of "East Indian" is curious and likely a product of the time period. The dancers Cole used were clearly up to the challenge of his rigorous choreography; Reiko Sato, the princess in the middle, steals the show with her forceful, perfectly controlled, and expertly embellished movements. McLean, in an interesting take on the number, describes it and all other oriental Cole numbers as "unmarked transvestism" that Cole used as a "hidden" way to express his homosexuality (he was a closeted gay man); she notes how the princesses have fully-covered bodies and are masculine powerhouses with swords and gestures while the men are shirtless and dress rather femininely. I think the number is simply perfect, but apparently Cole felt the editing left out "some of his best choreography" (TCM). You mean there's even more on the "cutting room floor"?!
...but nothing prepared me for THIS:
“Not Since Nineveh” - Kismet (1955) - Note: If you are unable to see the video due to your country location, please view it here.
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. "Hindu Swing" indeed, though the coinage of the religious term "Hindu" instead of "East Indian" is curious and likely a product of the time period. The dancers Cole used were clearly up to the challenge of his rigorous choreography; Reiko Sato, the princess in the middle, steals the show with her forceful, perfectly controlled, and expertly embellished movements. McLean, in an interesting take on the number, describes it and all other oriental Cole numbers as "unmarked transvestism" that Cole used as a "hidden" way to express his homosexuality (he was a closeted gay man); she notes how the princesses have fully-covered bodies and are masculine powerhouses with swords and gestures while the men are shirtless and dress rather femininely. I think the number is simply perfect, but apparently Cole felt the editing left out "some of his best choreography" (TCM). You mean there's even more on the "cutting room floor"?!
