Anglo-Indian Identity, Knowledge, and Power

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Anglo-Indian Identity, Knowledge, and Power Anglo-Indian Identity, Knowledge, and Power Western Ballroom Music in Lucknow Bradley Shope Beginning in the first half of the 20th century, Western ballroom and dance music began to make its way into Lucknow in Uttar Pradesh, as well as other cities in North India. It was imported via gramophone disks, radio broadcasts, and sheet music coming from Europe and America. In the 1930s, an increasing number of dance halls, railway social institutes, auditoriums, and cafe´s were built to cater to a growing number of British and Americans in India, satisfying their nostalgia for the live performance of the foxtrot, the tango, the waltz, the rumba, big-band music, and Dixieland. Influenced by sound and broadcast technology, sheet music, instrument availability, the railway system, and con- vent schools teaching music, an appreciation for these styles of music was found in other communities. Especially involved were Portuguese Goans and Anglo-Indians, defined here as those of European and Indian descent who were born and raised in India.1 For these two groups, it served to assert their identities as distinct from other South Asians and highlighted that their taste for music reached beyond the geographical boundaries of India. Numerous types of media, institutions, and venues contributed to this vibrant Western music performance culture in Lucknow in the early 20th century. James Perry, an elderly Goan musician, and Mr. John Sebastian and Mr. Jonathan Taylor,2 two elderly Anglo-Indian ex-railway workers, were involved in its perfor- mance and appreciation.3 By drawing from multiple field interviews in North India conducted with these individuals between 1999 and 2001, and by de- scribing the character of the performance culture, I will highlight the role of music in creating socioeconomic mobility and a distinct identity among Anglo-Indians in Lucknow, and address issues of power relations and coloni- alism with reference to the consumption of the music. Just before and during World War II, Lucknow was considered a strategic military defense location because of the fear of bombing campaigns in Kolkata (formerly Calcutta) by the Japanese military. A large portion of the Allied Eastern Command was moved inland and established in Lucknow to counter The Drama Review 48, 4 (T184), Winter 2004. ᭧ 2004 New York University and the Massachusetts Institute of Technology 167 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1054204042442053 by guest on 30 September 2021 168 Bradley Shope this threat. A large cantonment area built in the early 19th century greatly increased in size during the war, which generated a growth of businesses in an area ad- jacent to its periphery (see Llewellyn-Jones 1985). Beginning in the 1920s, this locale, known as Hazrat- ganj, was considered a center for the sale of European goods and services. By the time the British left Luck- now after India won independence in 1947, a num- ber of dance halls, cinema houses, sheet music and instrument stores, and cafe´s were built there to cater to a growing British, Goan, and Anglo-Indian popu- 1. The Mayfair Cinema lation celebrating the popular and ballroom music and Ballroom featured pop- originating from America and Europe. Cafe´s and dance halls with names such ular music and English- as Magnolia’s Cafe´, the Ambassador, the Mayfair Ballroom, Melrose, the Sol- language films during the dier’s Club, the Silver Snow, and the Royal Cafe´ catered to the performance 1920s to 1940s. The audito- of the music. Cinema halls such as the Mayfair Cinema (plates 1 and 2), Cap- rium is currently abandoned itol Cinema, Nishat Cinema, Prince Cinema, Wesley Cinema, and Plaza Cin- and the ballroom is a cafe´. ema showed English-language films from Europe and America. Godino’s Lucknow, India. (Photo by Music Shop in Hazratganj was selling and distributing sheet music and instru- Bradley Shope) ments. All of these venues supported the economic growth of the music. The styles of music performed were the jazz foxtrot, the popular waltz, the popular tango, big-band jazz, swing, cabaret songs, and Hollywood war-film songs. Dependent on technology and trans–regional/global economic net- works for their dissemination, these styles were mass-mediated, and as such were heard by large numbers of people in multiple and often times distant geo- graphic locales. The music was produced, performed, and recorded in Europe and America. But because unique local performance techniques were em- ployed in Lucknow, the performance and consumption of the music was “In- dian” in character, especially with reference to improvisational skills taken from North Indian classical music. The performance of the music was “West- ern” only inasmuch as it was learned by Anglo-Indians and Goans from gram- ophone discs, films, recorded radio broadcasts, and published sheet music coming directly from Europe and America. Examples of recording artists found in gramophone collections of residents of Lucknow include Glen Miller, 2. Still intact, the lobby of the Mayfair Cinema and Ballroom. Lucknow, India. (Photo by Bradley Shope) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1054204042442053 by guest on 30 September 2021 Ballroom Music in Lucknow 169 Survey of 78 RPM Collections in Lucknow The following is an abbreviated list of 78 RPM disks found in the col- lections of Raja “Jimmy,” a wealthy man of royal descent living just off Hazratganj in Lucknow, and Mrs. D’Costa, an Anglo-Indian woman. These are all from the 1930s through the 1950s. This list includes only music recorded in Europe and America, but many of the labels included here, including larger labels such as HMV, also pressed songs in Hindi and Urdu. Most of the ballroom music found in both collections was distributed by HMV, which built a factory in Dumdum outside of Kol- kata in the early 20th century, and Columbia records. Raja “Jimmy’s” 78 RPM Collection “Dance Away the Night.” Leo Riesman and His Orchestra. HMV. “Livin’ in the Sunlight, Lovin’ in the Moonlight.” Ambrose and His Orchestra. HMV. “You Brought a New Kind of Love to Me.” Ambrose and His Orchestra. HMV. “To Be in Love.” Warring’s Pennsylvanians. HMV. “Mr. Blackman Cakewalk.” H.M. Goldstream Guards. Gramophone Concert Record-London. “Silvery Moon and Golden Sands.” Henry Jacques and His Correct Dance Tempo Orchestra. HMV. “Scotch Country Dance.” Bohemian Orchestra. HMV-London. “The Waltz Dream.” The Black Diamonds. Gramophone Concert Record. HMV-London. “Following the Sun Around.” Jacques Benard and His Orchestra. HMV- London. “Too Romantic.” Glen Miller and His Orchestra. HMV-London. “Falling in Love Again.” Jack Hylton and His Orchestra. HMV-London. “You’re Always in my Arms.” Ben Pollack and His Dixieland Central Orchestra. HMV-London. “Blue Sky’s Are Around the Corner.” M. Pierre and His Strict Dance Orchestra. HMV-London. Mrs. D’Costa’s 78 RPM Collection “Easter Parade.” Bing Crosby. Columbia. “Bells of St. Mary’s.” Bing Crosby. Columbia. “Voices of Spring.” Boston Promenade Orchestra. HMV. “Where Is Sometime?” Frank Sinatra. Columbia. “Wish Me Luck.” Gracie Fields. The Twins. “Trees.” Nielson Eddie. HMV. “Dancin’ Banjos.” Multiple Performers. Gramophone Company of India. “Ballroom Favorites.” Multiple Performers. Spectrum (Holland). “Hello Young Lovers.” Ray Conniff. Hallmark. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1054204042442053 by guest on 30 September 2021 170 Bradley Shope Leo Riesman and His Orchestra, Ambrose and His Orchestra, the Bohemian Orchestra, The Black Diamonds, Jacques Benard, Ben Pollack and His Dixie- land Central Orchestra, and Frank Sinatra.4 All are recordings of waltzes, fox- trots, big band, or other pieces that are appropriate in a ballroom or formal dance environment in an auditorium, dance hall, or other establishment with a stage and dancing area. The boxed sidebar gives an example of the styles of music that were available in the 1930s through the 1950s in Hazratganj. One of the main orchestras performing frequently in and around Lucknow beginning in the 1930s was the Savoyans Orchestra (plate 3). Many orchestras had multiple performers playing on diverse instruments such as the ukulele, banjo, trumpet, double bass, saxophone, clarinet, flute, violin, and drums. The number of musical groups and venues increased beginning in the 1930s with the buildup of American and British military personnel during WWII. A tes- tament to the vibrancy of the music scene at this time, a number of elaborate halls were constructed to accommodate the British, Americans, Goans, and Anglo-Indians willing to pay a significant amount of money to attend an eve- ning of dancing.5 An example of one such venue is the Mayfair Cinema and Ballroom constructed in 1939 in Hazratganj in Lucknow. This hall has remark- able art deco characteristics such as “sunburst” hand railings, upward protrud- ing columns, and a streamlined and symmetrical box office design in the lobby of the cinema. Much effort and money was put into constructing this building in a style that mirrored architectural trends in America and Europe. Though only a small fraction of the people in the city at this time were participating in the consumption of this music, they had the power and finances to support an enthusiastic celebration of the music by hiring full orchestras to perform in elaborate halls. These performances continued until Indian Independence. Constructing Anglo-Indian Musical Knowledge Formal knowledge about and appreciation for ballroom music and dancing was supported by the convent educational system in India. Many convent schools throughout North India were teaching music, and some even encour- aging students to learn jazz. Sheet music was widely available in most cities with well-known schools, and an efficient network of distribution was orga- nized out of Kolkata. Some students were also learning to dance to ballroom music.
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