If there is a story of how an ordinary person overcomes the difficulties of life and becomes extraordinary, it would have been the story of Saroj Khan. We know her as a legendary choreographer and teacher to some of the greatest dancers of Indian cinema, from Sridevi to Madhuri Dixit to Govinda and Aishwarya Rai, and remember her for iconic songs like “Hawa Hawai,” “Nau Nau Choodiyan,” “Ek Do Teen,” Dhahk Dhak,” “Choli Ke Peeche,” “Mera Piya Ghar,” “Dola Re Dola,” and many more.
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Willum Skeener
Saroj Khan was born Nirmala Nagpal on November 22, 1948, in Bombay, to Kishanchand Sadhu Singh and Noni Singh. Her struggles started as soon as she was born, as her parents had migrated from Pakistan during the partition and were struggling to get hold of the situation. She started her career as a child artist in the films “Nazarana” as baby Shyama and “Parchhain” as Saroja. She also appeared in “Agosh (1953),” where she dressed as Radha and Baby Naaz as Krishna.
She was always interested in dance; she once recalled in an interview that “when she was three years old, she used to dance with her shadow. Her mother thought that something was wrong with her and consulted a doctor, who said that she was okay; just let her dance. At the age of 10, she joined a dance troupe and started appearing as a background dancer in films like “Mayabazar (1957),” “Kitna Badal Gaya Insaan,” and “Howrah Bridge (1958),” where she was seen in Madhubala’s “Aaiye Mehrban.” While dancing in “Chad Gayo Papi Bichhua (Madhumati), she was noticed by legendary choreographer B. Sohanlal, who took the young Saroj under his wings. Sohan Lal became her guru, and she started her training under him. Later, he appointed her as his assistant.
The relationship between 43-year-old Sohan Lal and 14-year-old Saroj was somewhat unconventional and controversial. A lot of people say that Sohan Lal took advantage of her, and soon she became the mother of his two children; she was not even 18 at the time. Sohan Lal refused to marry her and even did not give his name to his children. Saroj finds herself an unwed, single mother, struggling to find earth beneath her feet.
She first choroephed a song in P. L. Santoshi’s “Dil Hi To Hai (1963), which was pictures on Nutan. Santoshi was kind enough to give her pointers. It was the time when a girl choreographer was an unknown thing; all the great dance masters were male, and the industry was not ready to accept her as a dance master. Saroj Khan continued her personal and professional struggles throughout the 1960s. It was the time when she assisted dance master “P L Raj” in many films like “Phool Aur Patthar,” “Teesri Manzil,” “Sajan,” “Do Anjane,” “Dharmatma,” and many more.
She also appeared in Sadhna’s “Jhumka Gira Re” as a background dancer, and when P. L. Raj choreographed her film “Intequam (1969),” she was assisting him. When Shadhna turned director with “Geeta Mera Naam,” she appointed her as choreographer. Saroj followed it with films like Zameer (1975), Pratigya (1977), and Anand Ashram (1977).
It was also the time when she met her husband, Sardar Roshan Khan, who not only gave her the respect she deserved, married her, and gave her kids Raju Khan and Cuccko Khan his name. In 1977, she shifted to Dubai with her husband for three years. She gave birth to her second daughter, Sukaina. She also looked after her own brothers and sisters and gave them a respected life.
She returned to India in 1980, and on request of Zarina Wahab, she did the song “Goriya Re” in “Jazbaat (1980),” followed by “Vidhaata (1982),” “Hero (1983),” “Lava (1985),” “Jaanoo (1985),” and “Awara Baap (1985).”
Saroj was yet not the ace choreographer we know until her work with Sri Devi in “Nagina (1986),” “Karma (1986),” and “Mr. India (1987),” in songs like “Main Tera Dushman,” “Aye Mohabbat Teri Dastan,” and “Hawa Hawai.” Saroj and Sri went on to collaborate on many films, including Chandni (1989), Chaalbaaz (1989), Nigahen: Nagina Part II (1989), Lamhe (1991), Banjaran (1991), Heer Ranjha (1992), and many more.
After Sridevi, she found her second muse in Madhuri when she choreographed her in “EK do teen (Tezaab, 1988), which went on to become a chart-buster and all-time favourite. They went on to collaborate on countless iconic song numbers such as “O Raam Ji, Bada Dukh Dinha (Ram Lakhan, 1989), “Tamma tamma loge (Thanedaar, 1990),” “Humko Aaj Kal hai (Sailaab, 1990),” “Dhak dhak karne laga (Beta, 1992),” “Choli Ke Peecche (Khalnayak, 1993),” “Chane Ke Khet Mein (Anjaam, 1994), “Ankhiyan Milaun (Raja, 1995),” “Mera Piya Ghar Aya (Yaraana, 1995),” “Dola Re (Devdas, 2002),” “Tabah Ho Gaye (Kalank, 2019),” and many more.
One of the hallmarks of Saroj Khan’s teaching was her focus on expressions, or ‘abhinaya’. She believed that a dancer’s face could tell a story as effectively as their movements. This is evident in her work with top actresses like Madhuri Dixit and Sridevi, where the intricate facial expressions became as iconic as the dance steps themselves.
Saroj Khan, affectionately known as ‘Masterji’ in the Hindi film industry, was renowned for her unique style that combined traditional Indian dance forms with an emphasis on emotional expression. Her approach was not just about dance moves; it was about storytelling through dance, where every gesture and facial expression conveyed a deeper meaning.
Some other notable films of Saroj Khan include Janbaaz (1986), Dacait (1987), Hifazat (1987), Aakhri Adaalat (1988), Biwi Ho To Aisi (1988), Dayavan (1988), Tridev (1989) and Khoj (1989), Awaargi (1990), Vishwatma (1992), Aaina (1993), Anmol (1993), Mohra (1994), Dilwale Dulhania Le Jayenge (1995), Khamoshi: The Musical (1996), Iruvar (1997) (Tamil), Pardes (1997), Aur Pyaar Ho Gaya (1997), Soldier (1998), Taal (1999), Hum Dil De Chuke Sanam (1999), Fiza (2000), Lagaan (2001), Saathiya (2002), Kuch Naa Kaho (2004), Swades (2004), Veer-Zaara (2004), Mangal Pandey: The Rising (2005), Saawariya (2007), Guru (2007) , Namastey London (2007), Jab We Met (2007), Delhi-6 (2009), Love Aaj Kal (2009), Agent Vinod (2012), Rowdy Rathore (2012), ABCD: Any Body Can Dance (2012), Gulaab Gang (2014), Tanu Weds Manu Returns (2015), Manikarnika: The Queen of Jhansi (2019) and many more.
In her illustrious career, she won three National Film Awards for Best Choreography for “Dola Re Dola (Devdas, 2003),” “Sringaram (2006), and Jab We Met (2008). She also has the Eight Filmfare Best Choreographer Awards, which she won for “Ek Do Teen (Tezaab, 1989),” “Na Jaane Kahan Se (ChaalBaaz, 1990),” “Humko Aaj Kal Hai Intezaar (Sailab, 1991),” “Dhak Dhak Karne Laga (Beta, 1993),” “Choli Ke Peeche (Khalnayak, 1994),” “Nimbooda Nimbooda (Hum Dil De Chuke Sanam, 2000),” “Dola Re Dola, Devdas, 2003),” and “Barso Re (Guru, 2008).”
Saroj Ji also appeared as a judge on reality dance shows like Nach Baliye, Jhalak Dikhhla Jaa, and Ustaadon Ka Ustaad, imparting wisdom and encouragement to aspiring dancers. She also appeared as a dance guru in “Nachle Ve with Saroj Khan (2008)” on NDTV Imagine.
She was a mother, a mentor, and a guide to many in the industry. Her demise on July 3, 2020, due to a sudden cardiac arrest, left a void in the world of dance that can never be filled.
Saroj Ji was known for being a strict disciplinarian in her classes. She demanded perfection and would not settle for anything less. Despite her demanding nature, Saroj Khan was also a nurturing mentor. She had a knack for recognising and fostering talent, and many of her students went on to become successful dancers and choreographers in their own right. Her legacy lives on through the countless dancers she trained and the memorable performances she crafted.
