Ananya Panday understands discipline, performance and presentation because she trained under the guidance of Sandip Soparrkar during her prestigious Le Bal des Débutantes Paris appearance. At a time when she was preparing herself to enter showbiz, Soparrkar became one of her mentors and gurus, helping shape her confidence, grace and stage presence from a young age.
Strongly supporting Ananya the visibly angry Sandip Soparrkar said, All this outrage against Ananya Panday is absolutely rubbish.
Many so-called custodians and gatekeepers of Indian classical dance are suddenly finding their voice now. Where were these voices years ago when reality shows started blurring every possible line between Indian classical dance and western commercial movement vocabulary? Where were these debates when social media got flooded with “fusion” performances in the name of contemporary dance?
Now that the entire ecosystem has already changed, suddenly targeting a young actor for performing what was designed by a film director and choreographer makes no sense.
The dance in the film is clearly a modern cinematic interpretation inspired by Bharatanatyam, not a classical margam presentation on a sabha stage.
Ananya has been my student, and I genuinely believe she has done a brilliant job with whatever was envisioned and given to her by the director Vivek Soni and the choreographer of the film Chand Mera Dil. Actors perform according to the vision of cinema. Ananya in the film is not presenting a lecture demonstration on classical purity.
As a film choreographer myself, I completely understand that films are not educational institutions. Cinema is a medium of entertainment, emotion, storytelling and visual interpretation. If people are looking at mainstream commercial films as institutions to preserve classical pedagogy, then perhaps the viewpoint itself needs reconsideration.
And to all the self-appointed classical dance gatekeepers, please spend one hour on Instagram and social media. It is overflowing with bizarre “classical-contemporary-fusion” content mixing every possible style under the sun. Start questioning that ecosystem first before attacking a mainstream actor who is at least putting effort into learning and performing.
Ironically, many of these same people criticizing Ananya online today would happily run behind her tomorrow for a photograph or visibility.
It is always easy to criticize. It is much harder to appreciate effort.
Also interestingly, when western classical dance forms are diluted, commercialized or fused beyond recognition, very few people step forward to defend their “cultural ethos” with this level of aggression.
This selective outrage and hypocrisy need to stop. It is time we all support effort. Encourage artists. Guide them if needed. But public shaming in the name of preserving culture only exposes insecurity, double standards and two-faced behaviour.
Art evolves. Cinema interprets. Entertainment adapts. And Ananya Panday deserves appreciation for her sincerity and effort, not this unnecessary controversy.
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