Performances of Bollywood dances among Indian diasporic populations are sites of Hindi film reception, and part of understanding this involves analyzing the dances as they exist in the films and the processes surrounding their transformation into performed works.
A comparison of the choreography of the song Dola re dola in Sanjay Leela Bhansali’s Devdas (2002) with a newly choreographed version by the U.S. fusion dance troupe Chamak demonstrates how the latter dispensed with the former’s plot-driven elements and Bollywood glitz to become a display of the troupe’s perceptions of both their Indian-American identities and their cultural heritage.
This according to “Swaying to an Indian beat: Dola goes my diasporic heart—Exploring Hindi film dance” by Sangita Shresthova (Dance research journal XXXVI/2 [winter 2004] pp. 91–101.
Above and below, the Bollywood version; further below, Chamak’s version (performance begins around 0:25).
Related article: Globalized Bollywood