Ayesha Omar Rejects the Label of ‘Item Song’ for Her Dance in “Tutti Frutti”
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When model and actress Ayesha Omar performed a dance in her first film “Karachi Se Lahore” in 2015, wearing a traditional ghagra choli, she firmly rejected the notion that her dance should be classified as an item song.
Ayesha Omar has her own definition of what constitutes an item number. She stated, “Tutti Fruiti is not an item number because item numbers typically feature actors who are not part of the film. I am the heroine of the film.” This distinction, according to Omar, sets her performance apart from traditional item numbers.
Her stance mirrors a similar sentiment expressed by Bollywood actress Priyanka Chopra. In 2013, Chopra refused to categorize her dance in the Indian film “Shootout at Wadala” as an item number. She argued that a heroine’s dance within the film’s context differs from a traditional item song, which is often a standalone performance by a different actress.
Ayesha Omar’s perspective on her dance in “Karachi Se Lahore” also touches on the differences between her performance and typical Bollywood item numbers. While her dance in “Tutti Fruiti” might have featured moves reminiscent of Kareena Kapoor’s item song “Fevicol Se,” Omar believes that her role as the film’s heroine changes the context and perception of her dance.
This wasn’t the first time Ayesha Omar delivered a bold performance. In the film “Main Hoon Shahid Afridi,” she appeared in the song “Beautiful Night,” which depicted her dancing in a nightclub. The video showed a woman in a white dress reminiscent of Hollywood icon Marilyn Monroe, struggling with her short dress. This woman was none other than Ayesha Omar, showcasing her versatility and willingness to take on bold roles.
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Omar’s decision to distance her dance from the label of an item number reflects a broader conversation about how women’s performances in films are categorized and perceived. By rejecting the item song label, she emphasizes the importance of context and the role of the actress within the film’s narrative.
In conclusion, Ayesha Omar’s performance in “Karachi Se Lahore” and her subsequent statements highlight her efforts to redefine what constitutes an item number. Her comparison to Priyanka Chopra’s stance shows a shared desire among actresses to challenge traditional labels and redefine their roles in the film industry. Ayesha Omar’s bold performances, whether in “Tutti Fruiti” or “Main Hoon Shahid Afridi,” showcase her talent and versatility, while also sparking important discussions about representation and categorization in cinema.