Dancing To Her Own Tune
Uma Sharrna has been trained in Kathak, Kathakali, Bharata Natyam and Manipuri.
Trained both in the Lucknow and Jaipur gharanas of Kathak, under Guru Sunder
Prasad and Pandit Shambhu Maharaj, she has been very particular about not neglecting
either the Hindu element or the Muslim element in her Kathak compositions.
Moreover, she has done dance compositions based on the poetic works of writers like
Kalidasa, Tulsidas and Surdas as well as those of writers like Ghalib, Iqbal and Faiz.
Uma Sharma has been-described as wayward, impulsive, tempestuous, temperamental
and credulous. Like many, she claims to be the maligned, the vanquished, who has, all
the same, made it despite all odds.
Cautiously outspoken, she reflected at length about her contribution to dance and her
attitude towards the world of dance. Her speech is devoid of affectation. As an adept
in Kathak, Uma Sharma's views on dance are interesting.
Q. Do you follow the traditional approach to Kathak? Don't you try to experiment
and innovate?
A. I try to experiment with everything I do. I like to go verg deep into the theme I am
doing and am very particular about creating the right setting, environment, and
costumes. If it is a historical event, I try to read as much as possible. My reading
always affects my performance favourably. I remember doing 'Ar~arkali' for the
Bharatiya Kala Kendra. I read a lot about Mughal history but the challenge was to
keep within the framework of Kathak.
I am constantly trying to innovate and experiment. More recently, I have tried to
know what lies in the intricacies of Spanish Flamenco. I want to take two weeks'
vacation in September and spend it in Spain. As I will participate in the Madrid
Festival along with Mario Maya - Spain's topmost Flamenco dancer - I am
confident that I will learn a lot about Flamenco. I would also like to spend some
time on a study of gypsies' dances.
Q. People say that your high connections have led to your success. What are your
comments?
A. People who make such accusations are just against me. Over the years my enemies
have imeased, which is inevitable when one does good work. When I was awarded
thepadma Shri there was a lot of talk about my contacts though I was not even
aware that I was getting it. Anyway, the majority of my admirers don't accept such
talk. So I am not interested in all that.
And then if I was so well connected, why have I been ignored by the ICCR and the
two'Festivals of India?
Q. What is your attitude towards the present day critics?
A. Some critics have been spreading vicious rumours about me that I have put on
weight and that my institution is a monolithic structure where nothing is taught.
Their illusions will be shattered if they visit my institute and see the work I am
doing. Most critics today write about the great masters with such flippancy that it is
surprising. Criticism involves a lot of thought. My advice to present day critics is
that they must try to understand the art they review.
Q. What are your views on 'Guru-Shishya Parampara'?
A. In my view the 'Guru-Shishya Parampara' is almost dead today though I try my
level best to carry on the tradition in my school. I don't take a fee or even ask my
students for a glass of water. All I ask them is to do 'Pranam' to their Guru and do
hard work every day. I know that the attitude of the students towards their gums
has changed. I can recaH that as a student I had great respect for my teachers.
Today I cannot expect this from my students. The 'Seva Bhavana' is just not there.
Uma Sharrna has been trained in Kathak, Kathakali, Bharata Natyam and Manipuri.
Trained both in the Lucknow and Jaipur gharanas of Kathak, under Guru Sunder
Prasad and Pandit Shambhu Maharaj, she has been very particular about not neglecting
either the Hindu element or the Muslim element in her Kathak compositions.
Moreover, she has done dance compositions based on the poetic works of writers like
Kalidasa, Tulsidas and Surdas as well as those of writers like Ghalib, Iqbal and Faiz.
Uma Sharma has been-described as wayward, impulsive, tempestuous, temperamental
and credulous. Like many, she claims to be the maligned, the vanquished, who has, all
the same, made it despite all odds.
Cautiously outspoken, she reflected at length about her contribution to dance and her
attitude towards the world of dance. Her speech is devoid of affectation. As an adept
in Kathak, Uma Sharma's views on dance are interesting.
Q. Do you follow the traditional approach to Kathak? Don't you try to experiment
and innovate?
A. I try to experiment with everything I do. I like to go verg deep into the theme I am
doing and am very particular about creating the right setting, environment, and
costumes. If it is a historical event, I try to read as much as possible. My reading
always affects my performance favourably. I remember doing 'Ar~arkali' for the
Bharatiya Kala Kendra. I read a lot about Mughal history but the challenge was to
keep within the framework of Kathak.
I am constantly trying to innovate and experiment. More recently, I have tried to
know what lies in the intricacies of Spanish Flamenco. I want to take two weeks'
vacation in September and spend it in Spain. As I will participate in the Madrid
Festival along with Mario Maya - Spain's topmost Flamenco dancer - I am
confident that I will learn a lot about Flamenco. I would also like to spend some
time on a study of gypsies' dances.
Q. People say that your high connections have led to your success. What are your
comments?
A. People who make such accusations are just against me. Over the years my enemies
have imeased, which is inevitable when one does good work. When I was awarded
thepadma Shri there was a lot of talk about my contacts though I was not even
aware that I was getting it. Anyway, the majority of my admirers don't accept such
talk. So I am not interested in all that.
And then if I was so well connected, why have I been ignored by the ICCR and the
two'Festivals of India?
Q. What is your attitude towards the present day critics?
A. Some critics have been spreading vicious rumours about me that I have put on
weight and that my institution is a monolithic structure where nothing is taught.
Their illusions will be shattered if they visit my institute and see the work I am
doing. Most critics today write about the great masters with such flippancy that it is
surprising. Criticism involves a lot of thought. My advice to present day critics is
that they must try to understand the art they review.
Q. What are your views on 'Guru-Shishya Parampara'?
A. In my view the 'Guru-Shishya Parampara' is almost dead today though I try my
level best to carry on the tradition in my school. I don't take a fee or even ask my
students for a glass of water. All I ask them is to do 'Pranam' to their Guru and do
hard work every day. I know that the attitude of the students towards their gums
has changed. I can recaH that as a student I had great respect for my teachers.
Today I cannot expect this from my students. The 'Seva Bhavana' is just not there.
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