'The modelling scenario needs to be revamped'----Kantam
Novera Deepita
Eto kashto jibon nashto (life is difficult due to hard work). This punch line of one of her commercials became a household hit in the mid-1990s. Although she didn't take modelling as a profession, the audience were very familiar with her spontaneous presence on screen. After a small pause, she managed to re-enter the media. At present she works as the public relations officer at a private bank.She stepped into the entertainment world through the beauty contest organised by entertainment magazine Anandadhara in early 1990s. Kantam, popularly known as Kanta, has acted in 11 commercials. She is also a regular artiste on television and has worked in about 50 TV plays. Initially, she was not quite serious about being a model or actress. On an impulse, she submitted her photographs for the beauty contest and was selected. To quote her: 'It is only my passion, not a profession as I never walked the ramp.' Comparing the current modelling scene with that of 10 years ago, Kanta asserts, 'In our time the profession was more challenging as there were fewer girls in this media.' Though models are still not viewed in a positive light, there have been many new entrants in the profession, she says. She is now working in two TV serials: Pratirup and Chhayabithi. She enjoys working with quality directors like Afzal Hossain, Ahmed Yousuf Saber, Saidul Anam Tutul and Masum Reza. Kanta says, 'I always prefer to work with the people I am comfortable with.' She is not very frequent on screen, she says, because she dislikes the networking process required for commercials and dramas. Kanta strongly objects to the current trend in modelling where the newcomers care very little for the profession. 'I don't think it is a short-lived profession, but the new faces in this media view it in this light,' she says. She points out that performers like Mou or Tania are still working because of their talent, whereas the new models buckle under competition. The vulgarity and obscenity in modelling still exists because some of the ramp models have the tendency to cross the limit. This idea is anathema to Kanta, who believes that we should preserve the values and traditions of the country. She remarks, 'Many compare the state of modelling in our country with that of India. But we have to understand that India has reached the international standard which gives them the scope to perform like the western models.' According to Kanta, the idea of employing foreign models is very discouraging for the local models. She says that the agencies that employ foreign models may have to pay them less. Kanta questions why these ad agencies and their associations do not have a policy to fix the rates of the models. Her view is that if Bangladesh Television has ratings for the actors, which determine their remuneration, then why not in commercials. There are other problems as well. 'Often, professionals open agencies without the most basic knowledge about ad making,' Kantam says. For one, the companies that cannot pay the high-profile models, employ new models and often give them a break without remuneration. However, these agencies earn huge amounts by using promising models. As a result a good number of models are being created but the quality and professionalism are not assured.
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