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Chapter 1 Uday Shankar: an Overview of the Period

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Chapter 1 Uday Shankar: an Overview of the Period CHAPTER 1 UDAY SHANKAR: AN OVERVIEW OF THE PERIOD BETWEEN 1900 – 1960 Given that the focus of the thesis is the period from 1960 to 1977, this overview of Uday Shankar’s life from 1900 – 1960 is primarily based on Mohan Khokar’s book, His Dance His Life – A Portrait of Uday Shankar1, the write up published in the name of Uday Shankar in the Souvenir of Shankarscope in 1970, titled My Love for Dance ,2 and a televised interview of Uday Shankar with Shambhu Mitra on DD Bharati3. The researcher is well aware of the limitations that this might present. The two most evident ones being – the biography of Uday Shankar by Mohan Khokar is in many instances incorrect, inaccurate and inadequate for the period 1960 – 1977, therefore the veracity of the biography of Shankar’s early life also remains suspect, all the more so as Khokar does not use any citations, nor does he state the sources of his information in many a case. Nonetheless, this appears to be the most comprehensive book written on Uday Shankar’s life and works till date, and therefore the researcher has used this as a base for the period between 1900 – 1960. The second limitation arises from the usage of the write-up published in the souvenir, and Uday Shankar’s interview as the researcher is well aware that the content of this write-up and interview is what Uday Shankar wanted in terms of information dissemination to his audience and therefore is more 1 Mohan Khokar, His Dance His Life – A Portrait of Uday Shankar (New Delhi: Himalayan Books, 1983) 2 Uday Shankar, “My Love for Dance,” Souvenir of Shankarscope (1970) 3 An interview of Uday Shankar by Shambhu Mitra on DD Bharati, accessed April 28, 2019, url: https://www.youtube.com/watch?v=JHq-uBio5vE&t=14s for purposes of publicity. However, as mentioned above, since this period is not the focus of the study for this research, the researcher has decided to proceed with the information provided in these three sources as far as this chapter is concerned. This chapter is required not merely for the purpose of a dawn to dusk study of Uday Shankar’s life, but to understand the influences on Uday Shankar’s life in terms of the places, times and contexts; as well as trace the trajectory where there is a distinct shift in the subject matter and content of his compositions. This chapter is also necessary to support the contention that Shankar’s art form was influenced by, and in turn, mirrored the socio-political economic turmoil of the times. On December 8, 1900, Shyam Shankar and Hemangini Devi were blessed with their first born – a son – whom they named Uday, after the city of Udaipur where he was born. A distinguished scholar, and a connoisseur of arts, Shyam Shankar had initially come to the city of Udaipur, in present day Rajasthan, as a tutor to the Prince, Maharaj Kumar Bhopal Singh. He was later appointed as Private Secretary to His Highness, Maharaj Rana Bhawani Singh after the latter became the ruler of the then princely state of Jhalawar. Shyam Shankar was often appointed to travel as the Home Minister to assist the Maharaj. He later became the Prime Minister of Jhalawar. Hemangini Devi often took Uday Shankar to her maternal home in Nasrathpur, a tiny village near Varanasi, also known as Benaras or Kaashi. The stays would get prolonged if Shyam Shankar happened to be travelling for work with His Highness. Hemangini Devi’s father was the Zamindar or Landlord of Nasrathpur. A conservative and authoritarian man, he never appreciated nor understood Uday Shankar’s refusal to conform. Having spent his childhood between Jhalawar and Nasrathpur, Uday Shankar’s formal education was hampered. He changed schools thrice. A nature lover and a rebel, Uday Shankar often skipped school and went around wandering in many locales unsuitable for the upper caste Bramhins – for that was his caste by birth. Apart from occasional forays to a Muslim friend’s house for chicken, which was forbidden among the Brahmins, he also visited the villages of the low caste chamars or the untouchables. The music of the chamars and their dance, especially the movements of an old man, Matadin, captivated him. It is speculated that it was Matadin who inspired in Uday Shankar, the desire to dance. In his interview with Shambhu Mitra however, Uday Shankar stated that it was his mother, who given that she did not have any daughters, used to dress him up as a girl and used to ask him to dance – which he did in his own fashion, much to her delight. He therefore attributes to her, his first desire to dance4. Nonetheless, years later, when Shankar returned to India after staying abroad at a stretch for more than a decade, during which he choreographed and performed many of his pieces in many a European city, and having enchanted the world with his dance, he revisited Nasrathpur, he threw himself at Matadin’s feet and then embraced him – an inconceivable act for any Brahmin, especially in those days. He had also wanted to meet Ambika Charan Mukherjee, but could not trace him. Ambika Charan Mukherjee used to teach art at the school Uday Shankar attended in Nasrathpur. He had been the first one to notice the artistic traits in this otherwise rebellious boy. Under Ambika Charan Mukherjee, or Mastermoshai as he was called, a young Uday 4 An interview of Uday Shankar by Shambhu Mitra on DD Bharati, accessed April 28, 2019, url: https://www.youtube.com/watch?v=JHq-uBio5vE&t=14s Shankar developed his skills as an artist. Passionate about photography, Mastermoshai had his own camera and dark room equipment. Uday Shankar soon became adept at clicking photographs and developing them himself. Once back in Jhalawar, impressed by his son’s keenness and talent in painting, Shyam Shankar arranged for him to have extra classes in painting. The Jhalawar court too was a centre of art, for Maharaj Rana Bhawani Singh was a great patron of art. This cultural ambience of the court, together with the festivals and colours of Rajasthan – their folk dances, their rich Rajputana heritage, skilled swordsmanship, the style of painting − all had an indelible effect on Uday Shankar’s formative mind. In 1917, Uday Shankar joined the J.J. School of Art in Bombay. While Uday Shankar was undertaking his formal training in Bombay, Shyam Shankar became the Prime Minister of Jhalawar. Fate however had other plans. The Maharaja and Shyam Shankar however, fell apart in time and Shyam Shankar remained in London. In the meantime, Uday Shankar completed his three-year course at the J.J. School of Art, in Bombay. Uday Shankar’s transition from an artist to a dancer can perhaps be best grasped from his write-up titled “My Love for Dance”. In it, Uday Shankar wrote that he left India in 1919 and joined the Royal College of Arts for painting. One day, the principal, Sir William Rothenstein came to his class. After examining Uday Shankar’s work, he said, “Come to my office after you finish your work.” Uday Shankar met him accordingly. Sir Rothenstein told him, “I was in India for a long time, and I have seen wonders in your arts and crafts. I can see in your work that you are very much interested in our European way of modern painting. Why take this disease to India? Why not keep to your Indian style and improve on it?” He handed Uday Shankar a letter saying, “Give this to the Curator of the British Museum, he will help you, and you don’t need to come for a month to join your classes.” 5 Uday Shankar met the Curator. He took him to a room and showed him a large table with hundreds of voluminous books on Indian Arts and Crafts and said, “Here you are Mr. Shankar. You can go through all of them and if you want anything else, ask for me.”6 For one month, Uday Shankar went through all the books. According to him, a month was not enough. He could have spent a lifetime looking at them. For the first time Uday Shankar realized the richness of India’s heritage, in terms of art and culture; and for that he was most grateful to his Principal, Sir William Rothenstein. According to Khokar, Uday Shankar was a scholarship-holder. He finished his five years’ course in two years and got the A.R.C.A Diploma with honours. This was the first time in the history of the Royal College of Arts Sketch Club at South Kensington that an Indian student had won the prize. He was also awarded the Spencer prize, for a piece of imaginative painting, as well as the George Clausen prize for self-portraiture. During his college days in London, Uday Shankar had already started experimenting with dance, and after his performance at the Wembly Exhibition Theatre on India Day, where he performed the dance of Shiva, he received high praise. In his televised interview with Shambhu Mitra, Uday Shankar refers to a Mrs. Sen, who put him in touch with 5 Uday Shankar, “My Love for Dance,” Souvenir of Shankarscope (1970) 6 Ibid the organizers and thereby enabled this performance.7 Again, on June 30, 1922, Uday Shankar got a chance to dance in a garden party for His majesty King George V. He performed a Sword Dance and a few other items. King George V appreciated them very much and after the performance, showered him with compliments.
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