Suveer Sachdev 11B HPE- Ms.

Maree 29th November 2013

Music Breakdown
Maston Ka Jhund- Bhaag Milkha Bhaag
The dance created by our group (Nikhil, Naman and myself) falls into the genre of Bhangra, a typical, popular dance genre originating from Northern India, Punjab. Our movements throughout the dance represent the overall concept and theme behind our dance, which strives to portray and send out a social message regarding the social disparities between the different castes. This involves slavery, lack of freedom and the will to overpower. A range of movements have been incorporated into the overall dance, all of which have relevance towards the general style of dance. With the stereotypical move of twisting the light bulb, our dance explores and goes beyond these moves, identifying certain complex Punjabi Bhangra moves that can successfully be incorporated into our dance. Small modifications to each move such as jumping or synchronizations can help to increase the complexity of the dance; however, doing Bhangra on its own requires a high knowledge and sense of rhythm, which is what makes it hard to conduct. Lyrics: Oye hawan kund, maston ka jhund Oye hawan kund, maston ka jhund Oye hawan kund, maston ka jhund Sunsaan raat Ab aisi raat Rakh dil pe haath Hum saath saath Bolo kya karenge... Havan karenge, havan karenge, havan karenge Havan karenge, havan karenge, havan karenge Oye jeev-jantu sab so rahe honge Oye jeev jantu sab so rahe honge Bhoot-pret sab ro rahe honge Aisi raat sunsaan raat Rakh dil pe haath Hum saath saath bolo kya karenge Hawan karenge, hawan karenge, hawan karenge Hawan karenge, hawan karenge, hawan karenge Nahaata (ui) dhota (ui) Nahaata, dhota, sukhata Saare (ui) Order (ui) Saare order bajaata Parade tham.. Nahaata, dhota, sukhata (aaho..) Saare order bajaata (aaho..) Tabhi toh fauji kehlata Parade tham.. O Jungli Aag Si... Bhadakti Hogi...

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 Oye Jungli Aag Si Bhadakti Hogi Oye Lakdi Dil Ki Bhi Sulagti Hogi Oye Jungli Aag Si Bhadakti Hogi Lakdi Dil Ki Bhi Sulagti Hogi Aisi Raat Sun Saawni Raat Rakh Dil Pe Haath Hum Saath Saath Bolo Kya Karenge Hawan Karenge, Hawan Karenge, Hawan Karenge Hawan Karenge, Hawan Karenge, Hawan Karenge Hawan Karenge, Hawan Karenge, Hawan Karenge Ooi.. General Table Breakdown of Song Eight Beat Count IIIIIIII IIII II III II II II IIII IIII IIIII II Description/ Part of Song Introduction Verse 1 Chorus Verse 2 Chorus Random Verse 3 Random Verse 3- continued Bridge Transition into Verse 4 Verse 4 Chorus Total Beats 64 beats 32 beats 16 beats 24 beats 16 beats 4 beats 16 beats 4 beats 16 beats 32 beats 32 beats 40 beats 16 beats Creator of Choreography See Step by Step Movement Suveer+ Naman

The general table above, not providing any additional details, provides a basic outline to the song Maston Ka Jhunds structure. The chorus is usually placed immediately after a verse, and therefore, with the chorus being the most highlighted and main aspect of our dance I believe that synchronization is a strong must between all the chorus movements. In terms of allocations of solos, with our group consisting of three members, there must be three spaces of 32 beats each to provide enough time for a solo for each person. The bridge might be a perfect place to put a solo in, or perhaps 16 beats into the bridge, causing it to be 16 beats into the transition of the next part of the song. Verse 3 could obtain a solo, along with verse 4, before all of us significantly disregarding our individual moves and in synchronicity dance the movement established in the chorus. The table displayed below would provide an in depth view into each part of the song, the movements that were established with it, along with the creator of those movements. The movements would be described in a detailed and specific manner, along with regarding the moves of all three dancers at that point of time.

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 Detailed Step by Step Movement Table Song Description Introduction Beats 8 Movement Diagonal Row: Hands synchronized with foot movement In Depth Description With all three of us remaining in an a diagonal line towards the audience; from the first beat, each of us, with our right hand in front, would bring it and bounce it up and down, whilst simultaneously moving it left to right. Our left hand would be planted above our left leg, which would be planted on the floor; while our right leg effectively bounces with our right hand towards our left leg and away. This movement is repeated for 8 beats. During this motion, our back is effectively faced away from the audience. With the similarity of the previous step, this step aims to provide the same atmosphere gained by the audience. The tempo of the song is pretty fast and so at this point, the same movement would be done, as specified before, however, with the cue after the 8 beats form the previous movement, we would rotate 90o to the our left, indicating that we are facing our left to the audience for 16 beats. At the end of the previous movement, there would be a cue at which all three of us would turn and face the audience, through jumping at 90o. While this happens, the music at this particular point is like a maraca shake, and hence, to suit this, we would shake our chest, using our shoulders mainly. We would start whilst facing down at the floor and at the end of the 8 beats, our chest shaking would move as we start to face upwards, with our chest upwards. For the sixteen beats, we would face our body at one particular side (left first), and would twist our hands in the same side. At this point, our hands would be cupped as though turning a light bulb, whilst turning and pulling it. Our legs would be following our hands, going in the same direction and stepping on the floor. The foot Choreographer Suveer

Introduction

16

Diagonal Row: Hands synchronized with foot movement

Suveer

Introduction

Chest Shake

Naman

Introduction

16

Balle Balle

Naman and Suveer

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 movement would be alternated between different moves. Each step, (one repetition of the step) lasts for 2 beats, and hence there would be 8 times where we would do this move. However, there is a bit of variation between the three of us whilst doing the move, with Naman and Nikhil moving left to right while doing it, and me planted in the center. With the two beats provided, this is a very abrupt cue presented in the song, through which all three of us, (still remaining in our diagonal positions). Nikhil and Naman, who are the most front and the most back respectively, jump and turn 360o, therefore at the end of the two beats, they are still remaining in the correct position. Suveer would jump 180o and when he lands; his back would be facing the audience. This would create a unique formation, unlike the previous situations. During this section, all three of us would do different Punjabi moves in order get into the positions we need for the next verse; therefore acting as a transition phase. Whilst this happens, Suveers back is faced towards the audience, and Naman and Nikhil are performing towards the audience. Nikhil slowly moves forward, as he swings his hands and arms forward in a slow motion, taking small steps to accompany his hand movement. Naman throws himself backwards with Bhangra and shuffling. Suveer remains in the same spot, but takes two steps forward, and one step back, as his hands swing back and forth as though they are swiftly turning in the air. This way, he moves closer to the middle, establishing another formation, as an inverse of the first formation. With a movement to the right, for only 8 beats. Thus, at that moment, we would carry out the Bhangra in a circle, rotating 360o. During this type of Bhangra, one of our arms would be

Introduction

2 beats

The Turn

Naman and Suveer

Introduction

Variety of Moves

Naman, Nikhil, Suveer

Introduction

8 beats

Turning around Bhangra

Suveer

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 high up in the air, as though reaching a light bulb and twisting it, along with adding a bit of jump while doing so. Our bottom hand would be bouncing with the beat that is created from the bounce. At the end of this movement, we will all be in our established positions as the period before this. The verse starts, with 32 beats, directly after our Bhangra in a circle. We would take two steps forward, starting with our right, and following through with our body; and turning 360o by shifting our left leg 180o. This would occur in two beats, and would leave two beats for us to do the simple light bulb twist with our right hand positioned above our head, and the left at eye level. This movement is carried out backwards also, with the left leg following back and tracing the step from which it came from. At this point, we would be facing another direction, and would perform the same movement of the hand twist. This completes 8 beats. This goes on for a total of 24 beats. We are still in our same positions of the diagonal, with my back facing the audience. Finally, our last step in the verse before the chorus is the kicking of the legs, which simultaneously works with the alternation of the hands. In this movement, we would be kicking our leg in front, with the alternative sided hand placed above next to the face; with its palm faced towards the audience. Our other hand would be positioned down, next to the pelvis, and when our leg kicks forward, both the hands would push forward simultaneously too. The legs and positioning of hands will alternate for 8 beats. After the last movement in the previous verse, Suveer and Nikhil would jump from the position they are in, into their next position. Suveers being from his back facing the audience, to him facing the audience.

Verse 1

24 beats.

Two steps, turn 360o and twist the light bulb

Suveer

Verse 1

8 beats

Kicking Legs

Suveer

Chorus

8 beats

Havan Karege 1

Naman

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 Whilst Nikhil jumps onto his knees. Naman cups his right hand above his right knee, with his head bent below, and pushes his hand towards his head; with the knee following behind. Simultaneously, Suveer shakes his waist to the beat, whilst looking at Naman, and Nikhil, while bending, shifts his attention to the audience, and then Naman, with a beat in between each. After Namans single act of the chorus, Suveer and Nikhil rapidly jump up to join Naman in his chorus movement, as we copy his moves. This represents the simple move of the cannon which is used throughout the song. With High Kicks and throwing our legs upwards, similar to the step we did before, our hand structure is different in this step; with both of hands being placed next to our pelvis, clutched and released depending on the beats, as they are also pushed forward. When our leg is kicked, the hands are released, and when we take our legs backwards, they clutch. This motion is repeated for 8 beats. A swift rotation occurring between Suveer and Naman, as they roll behind each other. Nikhil rolls and turns 360o on his spot. This allows Naman to come into the center. Similar to the movement constructed with the high kicks and the hands placed with the pelvis; this movement needs the same; with the hands clutched in motion. However, the hands would be placed above your head this time, with the elbows bent. This is repeated for 8 beats. While Naman remains in the center, Nikhil and Suveer drop down to the position theyre in, so that they are in a squat position. The repulsion of the sudden drop will cause them to have a mini jump and face Naman. There will be 3 mini jumps following the big jump. Naman would do the main move of the chorus again, while Nikhil and Suveer

Chorus

8 beats

Cannon

Naman and Suveer

Verse 2

8 beats

Kicking Hands Below

Suveer

Verse 2

4 beats

Rotation

Suveer

Verse 2

8 beats

Kicking, High Arms

Suveer

Verse 2

4 beats

Drop down

Suveer

Chorus

8 beats

Havan Karege

Naman and Suveer

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 react as they shake their head to the beat. For the 8 beats, Naman jumps and rotates his foot back and forth, crossing his legs, then uncrossing them, whilst his hands follow the same movement. Suveer and Nikhil jump up from the position they are in and suddenly continue dancing to the chorus. We all cup our right hand above our right knee, with our head bent below, and push our hand towards our head; with the knee following behind. The right leg creates a beat on the floor with the amount of times that it comes into contact with the floor. Naman pretends although he is pushed, and flies all the way to the back of the stage, ready to perform his solo; while Nikhil and Suveer drop down to the floor again. Namans Solo. During this time, Nikhil and Suveer, as we are on the floor, we extend our elbows forward and push ourselves in front, dragging our body to follow our hands. This would match with the beat of the song and works as a transition between Namans solo, as Nikhil needs to get into the center. Suveer and Nikhil cross positions using that movement, whilst Naman is continuing with his solo. In Namans solo, Naman will start with a moon walk and will do so to come to the middle of the stage and spin 180 degrees on the eighth beat. After that, Naman will perform a move in which he will clap continuously while moving is hand up wards, and lifting and stomping left foot up and down, for four beats. In the next four beats, Naman will do the same move above, but reversed, his clapping will go to the right and upward, and his right foot will be stomping the ground. For the first two beats, Naman will rise using his toes, and then fall for the next two beats. Suveer and Nikhil remain on the floor, staying on the spot and pulling them forward.

Chorus

8 beats

Cannon

Naman

Random

4 beats

Transition

Suveer and Naman

Verse 3

16 beats

Solo I

Naman, Suveer

Random

4 beats

The fall

Naman and Suveer

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 Verse 3 8 beats Naman will do the shuffle with a light modification. When his right leg goes back, his left arm will rise and when his left leg will go back, his right arm will rise. Suveer and Nikhil still remain on the floor, pulling their hands back and forth in a repetitive manner. Naman will dance using the movement of his fists bobbing up and down beneath his waist, while his left leg goes up and down, for the first 4 beats. For the next 4 beats, would lock and pop, by miming. The miming would work as there is a rope and hold on it and pull himself to his left into position for the next dance moves. In this step, Naman will have finished his solo, as Nikhil and Suveer jump up from their positions on the floor to form a line. Naman would be in the on Nikhils left, making Nikhil the center of the stage. Suveer would be on the right. Before this, Suveer and Nikhil would jump up immediately from their previous position in order to continue the next move. The next move would be a Bhangra twisting the light bulb, with one hand placed high above the head, while the other is placed below the waist. During this type of Bhangra, one of our arms would be high up in the air, as though reaching a light bulb and twisting it, along with adding a bit of jump while doing so. Our bottom hand would be bouncing with the beat that is created from the bounce to form a complete circle. Next, after we complete our 360o, which we completed in an anticlockwise direction, we would then go in the clock-wise, opposite direction for another 8 beats, doing the same type of Bhangra; however, while doing this, we would change our initial pivot foot. Suveer and Naman, who are on the sides of Nikhil, would march behind Nikhils back, until they meet each other behind Nikhil. After that they would start marching on the spot to let Nikhil do his solo. Nikhil would make

Verse 3

8 beats

Lock and Pop Mime

Naman

Bridge

8 beats

The Bhangra Circle

Naman and Suveer

Bridge

8 beats

Bhangra Circle Other way

Suveer

Bridge

16 beats

Nikhils Solo

Nikhil and Suveer

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 his shoulders jump as his arms go forward and side to side with the beat. His legs jump enthusiastically. Nikhil has 16 beats remaining in his solo, through which Naman and Suveer who were marching will now start to shake their chest with their arms out open. At this point, Suveer will lean forward, whilst Naman leans backwards, and both of our chests will be shaking openly for two beats. This is then switched, with Suveer going backwards, and Naman shaking his chest forward to Suveer. This would occur for 16 beats. During Nikhils solo, his hands wiggle, and go up from left to right slowly while standing. Once above the head at the top right corner, they come back slowly and then go from right to left. Nikhil would have just finished his solo, and will slowly and swiftly move to his left, in a diagonal movement of backward. He would put his left foot forward and drag it behind with his hands, to make the transition swifter. Suveer and Naman would be moving to their positions in a slow motion manner. Suveer would be moving forward to get ready for his solo, whilst Naman jumps to the side in a slow way so that Suveer remains in front and that the others are at the back. Whilst Naman and Nikhil are on the sides, Suveer would be in front and would break into a dance from the freeze slow motion movement that he was doing in the last movement. At this point, the cue of the fast beat would make Suveer crouch and bend with his right arm bent forward. The right side of the body would be positioned in front crossing the left side. The elbow would bounce with the beat for four beats until it reaches the right side. The right foot simultaneously hits and bounces off the floor with the elbow for four beats. With the remaining 4 beats of the set; his two hands would extend into the air on the right and

Transition into Verse 4

16 beats

Nikhils Solo

Nikhil and Suveer

Transition into Verse 4

16 beats

Transition

Suveer

Verse 4

8 beats

Suveers Solo

Suveer and Naman

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 would pull in and push out in a rhythmic manner; with the palms clutched. This would occur for 2 beats, before the hands are switched to the left for the same thing, for the next two beats of the set. While Suveer is doing the solo, Naman will be on the left side and behind Suveer, while Nikhil will be on his right and behind him. At those positions, Naman and Nikhil will perform the same movements in which they did in the first 24 beats of the song. They will alternate sliding their right foot ahead and behind, while their right hand will bounce and touch their left hand, which is fixed at a point above their waists. The same motion that was carried out in the last movement would be copied out but in a parallel reflected manner; starting from the right and going to the left. Thus the same movement of the elbows, leg and the extended arms would be incorporated for the 8 beats of this set. Naman and Nikhil do the same thing. Suveer would make his body straight, with his legs next to each other, and extend his arms in a very straight manner, fingers pointed. At this point, the right leg would be shifted from the middle of the legs and his hands would extend outwards and inwards for the clap. The synchronization between his leg movement and his hand movement would be high. This would occur for four beats, before the extended leg switches to the left one, instead of the right. Naman and Nikhil will walk up to each other and meet right behind Suveer, who will still be doing his solo. There, they will clap both of their hands with each others hand in rhythm to the song. The left hand of Naman will clap with the right hand of Nikhil, and Namans right hand will clap with Nikhils left hand. Suveer will do the wave, starting from the right arm to the left. This would

Verse 4

8 beats

Suveers Solo

Suveer

Verse 4

8 beats

Penguin

Suveer

Verse 4

8 beats

Wave

Suveer, Naman

Suveer Sachdev 11B HPE- Ms. Maree 29th November 2013 last for four beats. The remaining for beats would be his right arm guiding his chest and shoulder to the right, acting as though his heart is in his hand. This matches with the lyrical meaning of the song, which says that the heart is in the hand. This completes the 8 beat movement of the solo. There is a pause at the end of the solo which transitions to the chorus. Everyone in their position would halt; then would complete the solo. Naman and Nikhil continue doing the same motion. We go into our ready positions for the chorus, as we all cup our right hand above our right knee, with our head bent below, and push our hand towards our head; with the knee following behind. The right leg creates a beat on the floor with the amount of times that it comes into contact with the floor. This occurs for 8 beats. For the final 8 beats of the song, the last movement would occur, different to the previous movements of the chorus. From the position that we were in, with our side against the audience, we would rotate 90o, bending our knees and moving swiftly sliding our feet to the right. With our feet, we would move to the left, as our feet would remain facing angled inwards towards each other for one beat, and alternating outwards for the other. This would go on for 4 beats, before moving to the other side, (right) for another 4 beats repeating the same steps. Suveer falls to the floor at the end, directly from the position they are in. They fall into a plank position, directly in front onto the floor. Nikhil and Naman, however, remains standing up, and immediately place their foot on Suveer. This symbolises the overall theme of overpowering and social disparities.

Chorus

8 beats

Havan Karege

Naman and Suveer

Chorus

8 beats

Movement Legs

Suveer

Ending

Fall to the floor

Suveer