Word: uday
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Dates: during 1930-1939
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...always when Dancer Uday Shankar of India returns to New York, a capacity house turned out last week to watch and hear the dances he has constructed during his absence. This time his new offering most favored was a temple dance called Tandrava Nrittya. Shankar became the God Shiva, whirling and gesturing, creating the universe only to destroy it. When his wife died, Shiva fell into grief and a state of meditation. Reincarnated as Parvati, she tried to wake him. When the Elephant-Demon, Gajasura, menaced her, Shiva, awake at last, came to Parvati's defense. In the great...
...regarded him as an upstart. But they have always been bewildered by the lavish amount of talent he has steadily produced. When in 1925 he went into bankruptcy, his day seemed done. But luck came again with Depression and he presented such money-makers as Dancer Mary Wigman, Hindu Uday Shan-Kar, the Singing Boys of Vienna, the Piccoli Marionettes...
...Eastern cities, perhaps to Chicago. If press notices are good, if the artist earns enough to pay expenses, he is considered a success. A long cross-country tour is scheduled for the next year. Last winter the new foreign dancer who impressed New York most was Uday Shankar, who in an aloof, compelling way proved that ancient Hindu dances can be made into exciting theatre (TIME, Jan. 9). In ten weeks he grossed $160,000-enough to pay traveling expenses for himself and a troupe of 13 from Calcutta and back, enough to pay for a theatre, for extensive advertising...
...deity. When Hindus want music they summon someone who can play one of India's many kinds of guitar or one of India's many drums. When Hindus want to see their native dances done in the most authentic, polished fashion they seek out the Hindu Dancer Uday Shankar, protege of the late Maharaja of Jhalawar. who studied at the London Royal College of Arts, forsook painting to dance with the late Anna Pavlowa. forsook Pavlowa to research the old dances and music of Hindustan...
...Because Uday Shankar was in Manhattan with his Hindu troupe for the first time last week, a great deal of reverent bowing was done there, a great deal of weird-sounding thrumming and drum-spanking. The curtain went up on Shankar's eight brightly-turbaned musicians, sitting cross-legged on the floor of the stage, 56 different instruments within reach. Drums shaped like picturesque vases, stringed instruments with necks almost as fat as their queer little bodies, gongs as bright as gold-pieces and serpentine horns made the music for Shankar to dance to. It was delicate, highly refined...