At her own pace
ANAND SANKAR
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Twenty five years into her career, Shobana, the dancer-actor with classical features, loves the freedom her muse has given her
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WIDE HORIZONShobana: `I have vast experience in films and classical dance. I don't have any preconceived notions.' Photo: Murali Kumar K.
"I am not doing any films right now. I am busy with setting up my dance school Kalarpana in Alwarpet," says actress and Bharatanatya danseuse Shobana, almost expecting the same question from a gaggle of reporters. I catch up with the rather indifferent star after she is done with her press conference to promote a brand. Excerpts from the interview.
What role does dance play in Indian commercial cinema and how have you managed to adapt to it coming from a classical background?
Dance is about 40 per cent in Indian movies. But I come from a background that is a combination of dancers and actresses, who were probably the most successful during their time. I started doing films since I was nine. So, I have had no problem with the subject of dance in films.
What do you think of dance in cinema today?
Everybody has a sense of aesthetics. I have done about 200 commercial films in my 225 odd film career. In each, there were about four song sequences, so I would have done about 800. I have internalised film dancing. But I do have my roots in classical dance, which I have been practicing for 20 years now. Today, I see beyond everything and just look at the aesthetics. If you ask me about the kind of dance on MTV today I don't approve, but a teenager wouldn't say it's vulgar. It's very subjective but I think some of it is very very bad. If you ask a westerner about Indian film dance 20 years ago, he would say it is pretty crass because it was Indian. But today's dance with taut limbs and nice bodies, he would say is a work of art.
You have been very choosy with your scripts of late? Have you had enough of mainstream cinema?
Why would I get disillusioned with mainstream cinema? 90 per cent of my films have been mainstream. I am just looking for scripts that I am inspired by. It should be creative. And the whole team making the movie should be good. That's very important.
You have worked with all the top heroes in South India? Have you been influenced by them?
It's not about the top heroes at all. When you are working with them they are just colleagues. Somebody once asked me `Who is your favourite hero?' I said it's not about the star, it's about working with someone and learning with them. There is no acting school, you only learn by working with talented artists scriptwriters and directors.
How would explain your form of dance?
I am one of the few artists in my generation who is experimenting with modern music. I am just trying to create my own language of dance. I have vast experience in films and classical dance. I don't have any preconceived notions; I just want my body to move with the sound.
Which is your favourite dance form and why do you choose it?
I like anything that is performed well. I am the best judge because I don't analyse. I have taught dance for so many years, but some times even I don't understand Bharatanatya. That means it's not being done, as it should. There have been film dances that I have loved, even group dances on TV, stage dances... It depends on how they present it. It's how they react to the music keeping in mind sensuousness and sensitivity.
You started out in Mangala Nayaki in 1979. How do you see yourself in 2005?
I see myself as someone who has prospered because I stuck to my guns. There maybe other avenues where I have not made the right choices. But I have stuck to certain principles. I have not reached the pinnacle, but I like the freedom my career has given me.
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