Amid backlash for Ananya Panday’s ‘Bharatanatyam fusion’, Indian classical dancers react to the film scene

Ananya Panday plays the daughter of a trained Bharatanatyam dancer in the movie Chand Mera Dil. PIC/Youtube @Dharma Productions

Bollywood, famous for its glamorous and aesthetic choreography, typically masks its misinterpretations under the label "fusion", conveniently normalising flimsy, unclear movements, depleting the essence of classical dance.

The public outrage after witnessing Ananya Panday's "Bharatanatyam" dance scene in the movie Chand Mera Dil has set the Internet ablaze, with some blaming the actor, while others blaming the choreography. In the film, Panday's character, Chandini, is the daughter of a veteran Bharatanatyam dancer and is expected to carry on the art form as a legacy. However, she chooses the "experimental" route, disappointing many. While choreographers didn't intend for the dance to follow traditional Bharatanatyam, its execution fails to do justice to both the classical and fusion dance forms.

Divina Choithani is of the opinion that fusion is a great place to start learning about art forms that usually appear daunting at first. PIC COURTESY/Divina Choithani

Suravi Handel, a 20-year-old Doordarshan-graded Bharatanatyam artiste, believes, "Classical dance in movies showcases the aesthetic of Indian culture rather than a disciplined practice. Everybody is interested in the product, not in the work that goes into it. It disheartens me to see condensed, simplified versions of this rigour marketed for commercialisation." Even as a traditional dancer, Handel shares, "I think the term ‘fusion' sometimes is used very casually to justify poorly executed choreography, which is essentially what Chunky Panday [Ananya Panday's father] defended to shield incompetence. I believe this insults both art forms. Fusion holds immense influence, especially among the younger demographic. They can be swayed into misunderstanding what classical dance truly is by inaccurate portrayals."

Divina Choithani, the 20-year-old Level 5 Kathak and Bollywood dancer, agrees, "Fusion doesn't imply an absence of technique; it is a blend of two styles, honouring both of them equally. It can serve as an entry point to learning the art form, but only if done correctly. It doesn't need to change to be relevant, but if infusing it with another dance style makes it easier to digest, we can reach larger audiences."

‘Bharatanatyam is turning into a trend'

Naveena Sabu, 21, fusion Bharatanatyam dancer, choreographer and digital creator

Naveena Sabu believes that Bollywood's flawed representation of fusion art stereotypes it into being a style that requires little to no effort. PIC COURTESY/Naveena Sabu

As a child, Naveena Sabu (@naveena.sabu) has been finding creative ways to incorporate Bharatanatyam into robotic movements, gaining significant online traction for her skill and grace. She reflects, "It's unfair to the fusionists out there because people may end up stereotyping fusion to be an art form that requires little to no effort. Bharatanatyam is turning into a trend in mainstream Bollywood. As much as I love the representation, there are also many professionally trained, underrated artistes who aren't getting the recognition they deserve. Bollywood has access to so many resources and talented people that they could cast to represent classical dance, but they often fail to utilise them properly. There is a lingering fear in the industry regarding the preservation of Bharatanatyam, which is why I believe they are incorporating this art form into multiple movies. However, there is also a lack of willingness to actually put in the work and learn about the art before promoting it, which I find misguided."

‘You need to know the rules to bend them'

Harini Nilakantan, 27, fusion bharatanatyam dancer, choreographer and digital creator

Harini Nilakantan (@__hxrini_) is a classically trained fusion artiste who incorporates hip-hop and freestyle into Bharatanatyam, gaining a mass following of 7 lakh on Instagram. She's known for her creative fusion while retaining the foundational Bharatanatyam principles of grace, posture, and precise movements. Her performances gained wider recognition after she appeared on the Red Bull Dance Your Style contest.

Harini Nilakantan is known for her creative fusion while retaining the foundational Bharatanatyam principles of grace and precise movements. PIC COURTESY/ Harini Nilakantan

After observing the uproar online, she shares, "I can see the vision, I somewhat understand what the choreographer was trying to do, but again, there's a lot of uncertainty about what might actually be going on behind the scenes. The backlash also serves as a reminder for other fusion dancers to question the purpose and intent behind their choreography. Musicals have always been a huge part of our culture, and I really hope we return to a space where choreography has more room to grow. In today's day and age, I feel that the dance aspect of films is treated as a promotional element rather than as part of the film, which is ironic because the musical is supposed to further the narrative, not merely sell the movie. The biggest misunderstanding people have about fusion choreography is perpetuated by Bollywood's flawed representation, which portrays it as easy and something that can be picked up in a few days. A lot of research goes into choreographing; you need to know the rules to bend them."

‘A huge disservice done in the name of classical dance'

Dr Anita R Ratnam, award-winning dancer and choreographer

Dr Anita R Ratnam believes in experimentation but not in tampering with the real art form. PIC COURTESY/ Dr Anita R Ratnam

AMID the online uproar, many veteran dancers have spoken up about how they feel. One of them was Dr Anita R Ratnam, an award-winning dancer and choreographer, whose tweet took the Internet by storm, critiquing Bollywood's disrespectful iteration of a fine art. She believes, "All cinema today is nibbling at the idea of India's traditional performing arts with a superficial lens. To misuse the classical attire as an accessory and to perform so poorly is a total misunderstanding of who a classical artiste is. However, this is just one example of how carelessly Bollywood filmmakers are treating tradition. Between the director, choreographer and cinematographer, there is a huge disservice being done in the name of classical dance. However, I am also a huge fan of film dance. It takes days and months of training to master quirky, identifiable choreography. Even fusion dance requires dedication, the right sequencing of steps and movements, and a decision about whether the final effect suits the dancer. It isn't just a casual mish-mash of whatever comes to mind. When I departed from the classical format and repertoire, I changed my look and renamed my dance form ‘Neo Bharatam' - A new approach to a body trained in Bharatanatyam. One should always innovate and experiment, but don't mutilate and mangle the art form."