Mumbai: Dancer and choreographer Sandip Soparrkar has strongly defended actor Ananya Panday amid criticism surrounding her Bharatanatyam-inspired fusion dance performance in the upcoming film Chand Mera Dil.
Taking to Instagram, Soparrkar described the backlash against the actor as “absolutely rubbish” and criticised what he called the selective outrage of “self-appointed gatekeepers” of classical dance.
The controversy erupted after clips from the film’s dance sequence surfaced online, prompting mixed reactions from social media users. While some praised the actor’s effort and screen presence, others questioned the use of Bharatanatyam-inspired choreography in a commercial cinematic format.
Soparrkar criticises ‘selective outrage’
In a strongly worded social media post, Soparrkar argued that cinema has always interpreted dance forms differently from traditional classical stage performances.
“The outrage against Ananya Panday’s Bharatanatyam dance is absolutely rubbish. Films are about storytelling, entertainment, and interpretation, not preserving pedagogy textbooks,” he wrote.
The choreographer further stated that fusion dance styles combining classical and commercial elements have existed for years across reality television, films and digital platforms.
According to Soparrkar, many critics who are objecting now had remained silent when similar fusion performances became widely accepted in mainstream entertainment.
‘Art evolves, cinema adapts’
Defending the actor’s performance, Soparrkar said Ananya had worked sincerely to prepare for the role and delivered what the filmmakers envisioned for the sequence.
He emphasised that cinematic dance performances should not always be judged by the rigid standards of traditional classical recitals performed in cultural sabhas.
“Art evolves. Cinema adapts. Selective outrage and two-faced behaviour need to stop,” he added.
Soparrkar also urged the actor to ignore online negativity and continue exploring challenging roles and performances.
Choreographer praises Ananya’s dedication
Recalling his earlier association with Ananya, Soparrkar said he had observed the actor’s discipline and commitment closely during her participation in Le Bal des Débutantes in Paris.
He described the actor as hardworking and sincere, stating that artists experimenting with classical influences in cinema should be encouraged rather than publicly criticised.
The remarks have added another dimension to the ongoing debate surrounding the portrayal of classical Indian dance forms in commercial cinema.
Debate over classical dance in mainstream cinema
The discussion around Ananya’s performance has reignited larger conversations about artistic freedom, cultural authenticity and the evolution of Indian classical dance in films.
While some classical dance enthusiasts argue that traditional forms should be represented with strict adherence to technique and authenticity, others believe cinema naturally adapts such forms for storytelling and wider audience appeal.
Fusion dance performances blending classical and contemporary elements have increasingly become common in Indian films, music videos and stage productions over the years.
Industry observers note that actors often undergo limited-duration training for film sequences, which differ significantly from the years of rigorous practice associated with formal classical dance training.
About ‘Chand Mera Dil’
Chand Mera Dil marks the first on-screen collaboration between Ananya Panday and Lakshya.
The film has been written by Vivek Soni and Tushar Paranjape, based on a story by Soni. Music for the project has been composed by Sachin-Jigar.
The film also features cinematography by Debojeet Ray and editing by Prashanth Ramachandran.
Ananya was last seen in Tu Meri Main Tera Main Tera Tu Meri alongside Kartik Aaryan, while Lakshya recently appeared in The Ba**ds of Bollywood.
