Singer Sona Mohapatra is known for her tracks Bedardi Raja, Jiya Laage Na, Ambarsariya, Bahara and more. She is now all set to give a small musical ode to womanhood on the awards night of the Indian Film Festival of Melbourne on August 15 and will perform her recent track, Beda Paar from Laapata Ladies.
In an exclusive interview with The Free Press Journal, the singer talked about her performance at IFFM, the representation of female directors in cinema, her impact of raising voice in the MeToo moment, and more.
What inspired you to create this unique tribute from your track Beda Paar from Laapata Ladies at the 15th Indian Film Festival of Melbourne?
I have been fortunate to be part of the soundtrack of a trend-breaking, beloved film like Laapata Ladies this year, which is also in competition at this year’s Indian Film Festival of Melbourne. The first time I went to IIFM was in 2022 with my own film, Shut Up Sona. It was the story of a female artist in a predominantly masculine system and won the best documentary that year. When they invited me this year to perform at the awards night, I felt it was time to connect the above two dots and befittingly present a musical ode to the different colours of womankind considering they were also showcasing over 20 films made by female directors like Suchi Talati and Pooja Kaul to veterans like Rima Das and Nishtha Jain.
The show will feature a classical pianist, a jazz violinist, Bharatnatyam, and Kathak dancers to perform in an iconic venue like the Palais Theatre, where greats like Frank Sinatra and Adele have performed in the past, which makes me feel overwhelmed.
How do you think the representation of female directors in cinema has evolved over the years, and what impact do you hope your performance will have on audiences?
I think things are only getting better, and the world is definitely finding a place for the female voice, be it the box office success of Greta Getwig’s Barbie, the action goddess director Kathryn Bigelow, Jane Campion or indie favourite Chloé Zhao from China. Closer home, Zoya Akhtar and Anjali Menon from the Malayalam industry, apart from the incredible legend Aparna Sen, have been creating worthy cinema, amongst many others. I count on my performances and voice and stand for better representation to positively impact the coming generations, like many other artists like me who believe in art for change.
Can you give us a glimpse into the creative process behind your performance?
I just plan to do what I do best: sing live, choose lyrics and songs that tell a story, and also entertain and touch your soul at the same time. I have chosen songs that celebrate various colours of the feminine existence, from Bekhauf Azad and Dheeme Dheeme from Laapata Ladies to the music of the courtesans and a raunchy ending with Bedardi Raja. Even female desire is a valid emotion and music helps normalise it.
You have always been vocal about your views. Have you ever lost connections with people or work in the industry because of your strong opinions?
If I have, it’s a sad reflection of them, not me. Fortunately, I have always found allies that have similar value systems and are not scared off by a strong opinion or personality because they have a spine themselves. So it’s all okay, to each his/her own.
Since we often read your bold statements on Twitter, how do you deal with online trolling?
I switch off periodically and do a digital detox regularly. I also receive a lot of love and an incredible amount of support from people who understand my need to speak up on some matters. So I guess things do tilt the balance more to the latter, more positive side; it’s just that the nasty things are louder and tend to get amplified more by the media.
You’ve been a prominent voice in the Me Too movement. How did your advocacy impact your career during that time?
I was asked to leave my judge’s seat on a reality show on TV almost immediately after I opened my mouth. This was a blow to me not only emotionally but much more since I refused a US tour that year to judge the show as I was the first female on that chair in 23 years and felt it would be a game-changer year. The same reality show chose to bring in the aforementioned (by over 12 women, including many underage girls) Anu Malik as their judge instead. No TV show, including them, has decided to make amends by calling me again. That is the price one pays to speak up for a better future and better systems in workplaces and it’s all worth it. It is a worthy legacy I will leave behind and I have no regrets.
What is your take on favouritism in the music industry?
It’s never been any different, even in their heydays of being top film singers. The industry operates on fear and that mostly shows up in their casting. So it’s for artists to now create their opportunities. I have worked single-mindedly on my independent releases ever since I’ve entered the industry and not waited for film opportunities or knocked on a hundred doors. It’s held me in good stead.
You have been a part of a reality show in Sa Re Ga Ma Pa, do you feel these shows are scripted or fake?
Fake is one thing. Mediocre, as far as it can get from any creative thought or innovation, is my bigger issue. That a country continues to patronise such shows of parroting singers, highly emotional judges, and no original music is a reflection of our audiences too. Again, one man’s meat is another man’s poison, etc., but I do hope we aspire for better aesthetics and standards in the coming years.
