Congress spokesperson Dr. Shama Mohamed has joined the growing online backlash against Ananya Panday's Bharatanatyam dance sequence in the newly released film Chand Mera Dil, calling the performance "an insult" to the classical dance form and stating that "classical dance can't be manufactured" for the actress.economictimes.
What Exactly Happened: The Dance Sequence That Sparked Outrage
The controversy centers on a viral dance clip from Chand Mera Dil, a romantic drama starring Ananya Panday and Lakshya that hit theaters on April 10, 2026. In the sequence, Panday's character Chandni—daughter of a Bharatanatyam dancer—attempts to blend traditional Bharatanatyam choreography with contemporary hip-hop movements while wearing traditional attire.
The video, which features Panday performing what appears to be a fusion of Bharatanatyam with modern dance, has triggered massive backlash online since it went viral on May 24, 2026.
Key Details of the Controversy
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Shama Mohamed's Bombshell Tweet: "She Killed My Favorite Dance Form"
Dr. Shama Mohamed, a National Spokesperson for the Indian National Congress, took to X (formerly Twitter) with a sharply worded criticism that has since gone viral. Her personal background with Bharatanatyam gives her comments particular weight in the debate.economictimes.
The full tweet reads:
"Ananya Pandey has killed my favorite dance form - Bharatnatyam!
I have learnt it from the age of 7 to the age of 13 - did my arangetram too in Kuwait & never looked back.
Classical dance needs to be studied over a period of time & can't be manufactured for Ms Pandey!
Please don't ever insult such a beautiful art as Bharatanatyam"
What makes Mohamed's criticism particularly pointed is her personal connection to the dance form. She learned Bharatanatyam from age 7 to 13 in Kuwait and completed her arangetram (traditional debut performance) there.economictimes.
Why This Matters: The Broader Cultural Debate
This isn't just about one actress's dance performance—it touches on deeper questions about cultural representation, respect for classical arts, and Bollywood's treatment of traditional Indian dance forms.
Expert Reactions Beyond Shama Mohamed
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Bharatanatyam performer Anita Ratnam's critique was particularly damning, describing the performance as "choreography born out of algorithmic panic" and noting that the form is "rooted in technique, control, tradition, geometry, musicality and emotional depth"
The Counterargument: Should We Blame the Actor?
Not everyone believes Ananya Panday should bear the full brunt of criticism. Several voices have defended the actress, pointing out that the responsibility lies more with the choreographer and director
The assistant choreographer Ananya R. Kurup publicly praised Panday, stating: "@ananyapanday you are truly one of the sweetest people I know! It was such a lovely experience teaching you Bharatanatyam, and you've absolutely nailed your performance in Chand Mera Dil".
This defense raises an important question: ** Should actors be held accountable for choreography decisions made by professional dancers and directors?
Killed it: Congress leader roasts Ananya Panday's Bharatanatyam performancehttps://t.co/M2ijdA6kcu
— India Today Showbiz (@Showbiz_IT) May 26, 2026
Timeline of Events
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What Happens Next: Unanswered Questions
As of now, Ananya Panday has not publicly responded to the backlash. The controversy raises several questions about the film's promotional trajectory and the broader conversation around classical dance representation in Bollywood:
- Will the makers issue a statement about the choreography and creative decisions?
- Is the film's box office performance likely to be affected by this controversy?
- Will this spark industry-wide discussion about how classical dance forms are portrayed in commercial cinema?
- Could this lead to more rigorous consultation with classical dancers in future film productions?
The Bigger Picture: Bollywood and Classical Dance
This controversy is not isolated. Bollywood has a controversial history with classical Indian dance forms, often prioritizing visual appeal over authenticity. The debate around Panday's performance highlights the tension between commercial entertainment and cultural preservation.
Classical dance forms like Bharatanatyam require years of dedicated training—Mohamed herself studied for six years before her arangetram. Yet film productions often have limited rehearsal time, leading to what critics call "manufactured" performances that lack the technical precision and emotional depth of authentic classical dance.
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