An afternoon with Mamata Shankar

Mamata Shankar, daughter of legendary dancing duo Uday and Amala Shankar, recently visited Dhaka to attend a dance workshop, organised by Shadhona. She had a conversation with Prothom Alo on 6 August at Shadhona office. Her husband Chandroday Ghosh was also present.
You are Uday Shankar’s daughter. How was your childhood?
Very ordinary. My parents never lived the life of a celebrity, and my father used to say - let her grow in her own way. But the atmosphere of our house was unique -dance rehearsals, music, set and costume making - these were part of the daily happenings. I used to watch these with curiosity, often helped out a little - and subconsciously soaked in everything. I formally learned dancing years past my childhood.

Whose influence is most prominent in your dancing style - your father’s or mother’s?
I never knew how great a dancer my father was when he was alive. I got to know about his greatness from my mother. You can say I got my father’s influence through my mother. When my parents used to change their costumes between performances, I used to drape those around my body and dance by the side of the stage. Sometimes my father used to pick me up and took me to the stage.

Most of your dance production are based on Rabindranath Tagore’s work. Is there any specific reason behind this?
It’s kind of a divine design. The common link between Uday Shankar and Rabindranatth Tagore is Sir William Rothenstein. He was my father’s teacher, and he adviced him to read Keats after reading Gitanjali. Rabindranath was the first person to bless Uday Shankar for introducing Indian culture to the West. So, he keeps coming back in our works.

How do you view the evolution of Indain dance from Uday Shankar’s time to the present?
It hurts me. Almost everyone thinks contemporary dance means the fusion of Eastern and Western dance form, which is such a misconception. Surely we will take good things from the whole world, but we should present those in our own way by creating something new. Uday Shankar’s dance forms were very free-flowing, yet was not out of specific rules. My father used to say, “Do not copy me .” The only thing he brings from the West was showmanship. Taking care of lighting, costume, set design, dancer placement - things like these. Another important thing he learned from the West is to present the entire piece in a compact way, within a short time frame.

How did your acting career began?
My father is a big influence in my acting career. He adviced me to stand in front of the mirror and practice saying a single word in different manners. When I was in college, my brother Ananda Shankar was composing music for three movies of director Mrinal Sen. As I was not very interested in studying, one day I called Mrinal Sen and requested him to give me a role in his movie. He offered me the role of a Saotal girl in Mrigoya.
I had used black paint all over my body to fit the part, but it looked very artificial. So I tanned my skin naturally, by sunbathing.
I did the same thing again in Mrinal Da’s next film Oki Uri. I’m very blessed to have the opportunity to work with such great directors.

You have been very selective in your acting career. Did you ever think about working on commercial movies?
I thought about it, but it somehow did not happen.

How did you start working with Satyajit Ray?
One day, I was half asleep when I heard my husband Chandroday reading from a newspaper that Satyajit Ray is making a new film. In my half asleep state, I said, “I wish I could have worked in this movie.” A few hours later, Chandroday woke me up and handed me the phone, and Satyajit Ray was on the other end.
Quite hesitantly I said, “Manik Kaka, will you give me a chance in your movie?” He replied, “It’s not that I didn’t think about giving you a role.”
A few days later, he called me again and said, “Didn’t anyone tell you? You are in my next film.” Thus I got to work in his movie Gonoshotru. He later took me in Shakha-Proshakha as well.
I can still remember, at the last day of the shoot of Shakha-Proshakha, actor Dipankar De and I was discussing among ourselves whether we will get to work with Satyajit again. A few days later, I went to Europe with my dance troop when Satyajit called and said he signed up Dipankar and Utpal Datta for his next movie, and wants to sign me as well. Unfortunately, the time of the shoot clashed with my Paris show, which was already sold out. So with a heavy heart , I told him that I had to myself move away from that movie. He said, “If you can’t do the movie, I won’t make this movie.” He started another project instead. I starred in the movie once I came back from the tour.

How do you feel about Bangladesh?
I always enjoy my time in Bangladesh, except from the traffic. Your hospitality is exemplary . My parents are from Bangladesh, so are my in laws. My father was from Jessore, mother from Khulna, father in law from Mymensingh and mother in law from Dhaka. My mother, who is 97-year-old now, always talks about Dhaka. When I told her about this visit, she said, “Had you told me before, I would’ve gone to Dhaka, too.”

Is there a sequel to the movie Agantuk, titled Agantuker Porey in progress?
It’s still on the discussion table. If Babu da gives us the permission, it may proceed further. It will be great if it really happens.

Thank you a lot for your time
Thank you too.