For many, the first glimpse of Shobana on the big screen was nothing short of spellbinding. As Ganga in Abdul Hameed Muhammed Fazil’s 1993 Malayalam cult classic Manichitrathazhu, she etched herself indelibly into cinematic history. Yet her story had begun long before that unforgettable performance.
Shobana Chandrakumar — known to millions by the single, evocative name Shobana — first stepped before the camera as a child artiste in 1980, in R Krishnan and S Panju’s Tamil film Mangala Nayagi, a remake of the Hindi hit Saajan Bina Suhagan. Her performance in the film not only marked her debut but also earned her the Best Child Artiste Award — an early sign of the prodigious talent to come. Two years later, she appeared in the Telugu film Bhakta Dhruva Markendaya, an ambitious production made in both Tamil and Telugu, garnering critical praise for its charm and originality.
It was in 1984 that Shobana, now a poised young woman, made her formal entry into the industry as a leading lady — gracing the screen in Balachandra Menon’s Malayalam feature April 18 and SP Muthuraman’s Tamil film Enakkul Oruvan. These performances would herald the arrival of a new star with an acting style that was equal parts grace, intelligence and emotional depth.
From there, her filmography blossomed into a treasure trove of Indian cinema’s most memorable works. She captivated audiences in Rudraveena (1988), the Mani Ratnam masterpiece Thalapathi (1991), the ever-enchanting Thenmavin Kombath (1994) and the poignant Minnaram (1994). Her versatility found new expression in English-language films such as Mitr, My Friend (2002) and Dance Like a Man (2003), while she continued to command the screen in later years with Thira (2013), Varane Avashyamund (2020) and the futuristic epic Kalki 2898 AD (2024).
Most recently, she returned to Malayalam cinema with Tharun Moorthy’s Thudarum, released in April 2025 — proving, yet again, that her artistry remains as fresh as ever.
Across four decades and more than 230 films spanning Malayalam, Tamil, Telugu, Hindi, English and Kannada, Shobana has built a career that few can rival. Her body of work has been recognised with some of the nation’s highest honours, including two National Film Awards and the Kerala State Film Award for Best Actress.
Yet, to speak only of her cinematic achievements would be to tell half the story. Shobana is equally celebrated as one of India’s foremost bharatanatyam dancers — an artiste whose command of the stage is as compelling as her on-screen presence. Trained under legendary gurus Chitra Visweswaran and Padma Subrahmanyam, she emerged in her twenties as a performer of rare expressiveness and technical brilliance. Her journey in dance led her to establish Kalarpana, her Chennai-based academy, which has since become a vital institution dedicated to preserving and nurturing the classical arts for the generations to come.
Her cultural impact has been acknowledged at the very highest levels. In 2006, the Government of India conferred upon her the Padma Shri and in January 2025, she was awarded the Padma Bhushan — one of the nation’s most prestigious civilian honours. She has also received honorary doctorates and the Kerala Sangeeta Nataka Akademi Fellowship, affirming her place as a true luminary of India’s artistic heritage.
Whether portraying a character that lingers in the mind long after the credits roll, or bringing a centuries-old dance form to life before a spellbound audience, Shobana is the embodiment of artistic dedication. Her work transcends mediums, genres and generations — a testament to a lifetime spent in pursuit of perfection, truth and excellence.
This weekend, Bengaluru welcomes her back after a notable hiatus. Performing at the Sakhi Festival at New Horizon College Auditorium, Kadubeesanahalli, she is set to once again enthrall audiences. We catch up with her to share her thoughts on dance, freedom, the art of nattuvangam and much more and one thing is certain — she remains as luminous as she was on the day she first stepped into the spotlight.
Congratulations on being awarded the Padma Bhushan earlier this year. How does it feel to be recognised by the Government of India in this way?
Every time my work is recognised, it brings a deep sense of satisfaction. It reminds me that someone is watching, someone is listening and that inspires me to pour even more love into what I do for my audiences. I have always been a dreamer, but to be honest, I never imagined I would achieve so much — or, in fact, anything at all. So, I feel truly honoured and humbled; and I am immensely grateful for the kindness and appreciation I have received over the years.
What does being free/enjoying freedom, mean to you?
To me, freedom is as fundamental as being human. The first thing that comes to mind is artistic freedom — that is paramount to me and it feels like a given. More recently, I have also come to value the freedom to protect ourselves, especially in today’s social media–driven world. Privacy and by extension the ability to safeguard our children, is becoming increasingly important. These are the freedoms I think about.
You’re in Bengaluru after quite a while. What are your thoughts on the city and what will you be presenting at the festival?
Yes, it has been a long time since I was last in Bengaluru and I am here for the Sakhi Festival. The festival runs for several days and celebrates something we all share — a love of art. Bengaluru has always been one of my favourite cities; it is a vibrant, inspiring place. I will be presenting some of my latest work and I truly hope the audiences there will enjoy it.
You are known to be a lover of handloom. Could you share a little about that passion?
I have always had a deep affection for tradition — be it food, cooking or fabric. My love for handloom goes beyond its softness or its bright colours. For me, it’s about the craftsmanship, the human touch and the traditions woven into each piece. That is what makes it truly special. I believe we should be more vocal in celebrating and supporting handloom.
How do you stay in shape — physically and mentally?
To be honest, I am not sure I am ‘in shape’ in the conventional sense, nor is it something I focus on. I don’t believe it’s as relevant today as it once was. Mentally, I count my blessings and try to remain as positive as possible, surrounding myself with simple people.
My audience doesn’t expect me to conform to a certain physical ideal — they come to my performances to be entertained and moved. That, to me, is a great achievement, especially because traditional dance and music are not considered mainstream. They may never be and that’s perfectly fine — they will always have their own audience.
Beyond being a celebrated dancer, you are also a prolific nattuvangam artiste. How did that come about?
Nattuvangam is an instrument in itself. For a while, some dance gurus chose not to perform it themselves — not because they lacked the skill or understanding of rhythm, but perhaps due to time constraints or personal preference, they delegated it to professionals.
For me, nattuvangam has always been about sound — the pitch, the konakkol, the intonation, knowing when it should complement or contrast. I tend to hear things differently and that has been an asset. The credit goes to my guru, Chitra Visweswaran, who always performed her own nattuvangam and encouraged me to do the same.
Of course, much depends on one’s own interest and willingness to observe and learn, as nobody will hand you the nuances unless you seek them out. That’s how it began for me — and I continue to enjoy the art immensely.
What can we look forward to from you next?
I am currently working on several pieces where music takes centre stage. Some of these are collaborations with acclaimed violinists and masters of the thavil, which is tremendously exciting. I am also working on a project called Konjum Salangai to commemorate my guru’s 75th year. I think these projects will offer something truly special for audiences to look forward to.
INR 1,500 onwards. August 17, 6 pm onwards. At Bellandur.
Email: romal@newindianexpress.com
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