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However, the film had other problematic tropes including crass jokes about being gay, mocking disability, bragging about one’s caste etc. We saw the blooming of a gay romance in the film. Sure, there have been some movies like “Shubh Mangal Zyada Saavdhan” of late. Even with the reading down of Section 377, there very little mainstream visibility of non-heteronormative identities coming from those identities.
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Section 377 Was Read Down, But…Įver since her, we have hardly seen any queer representation in India’s mainstream, music industry. Falguni’s creativity in her music videos remains proof of her fearlessness. This is what I find remarkable and in a way, comforting.Īs the ’90s were a difficult time to deviate from the norms of heteronormativity, be it any form. What was depicted might not have been radical, but what is remarkable about it is the way in which female relationships were shown.įalguni let these friendships prosper, never stealing the show and yet, establishing her own presence in them. They talk about all sorts of things including falling in love. In another hit song by her, “ Chudi” (bangles), we see a group of young girls living together. She always managed to make her presence felt though.Īnd, in the very act of being herself and defying ideas of what a woman is “supposed” to wear, she taught us the importance of being yourself no matter what. This is what Falguni offered to the audience so long ago: the freedom to dream, away from the binaries Indian media shoved down our throats.Īlso read: From Inspiration For The Beatles To Sexist Lyrics: Indian Music Has Lost Its Wayįalguni never played a major role in her videos either-sometimes, all she would do was to offer her shoulder to a sulking woman. But, the most important out of them is the urge to dream. These expressions might not be monumental, they might be everyday choices. Just like in many of her other music videos, the woman always has the agency to express herself. Towards the end, the man in the video becomes nothing but a spectator. While one doesn’t know the exact nature of the relationship between Falguni and Ayesha’s characters, one could clearly see the scope for exploration. Challenging the norms of a hetero-normative relationship, it gave Ayesha’s character the space to explore her emotions. In my opinion, the song ends on a note which is open interpretation. Why did they wear slippers on their hands and dance, remains a mystery to date.īut, Falguni’s unconventional way of going about things doesn’t fail to impress. Here is when Falguni makes her entry, dancing with Ayesha in the hills. It began with Ayesha Takia entering a castle-like house, which eventually cages her inside.Īlong with a white rabbit, she carries with herself memories of the past. In the video of “ Meri Chunar Udd Udd Jaye” (my stole is flying away), one sees a story unfolding in mysterious ways. Later, she came to be known as one of the earliest queer icons in India, and rightfully so. Her indie music videos included little hints at queerness, here and there… Not to mention her larger-than-life yet soft, gender non-conforming presence. Let us, for instance, go back to the ’90s and explore the unique way in which Falguni Pathak expressed queerness on screen. While newer videos in the Indian media have limited themselves to common stereotypes (misogyny and the like), there was a time when music videos were filled with endless possibilities. The charm of these videos isn’t, however, limited to nostalgic purposes. I remember sitting at home, during summer vacations, and patiently waiting for a music channel to play the video I was hoping for.