He is dark; wheatish rather. A man who has been through a lot, just like a burnt bajra bread, like the black soil, a face true to its roots - Shahir Vithal Umap.
Shahir is like the water - pure at heart. And his voice is like a mountain. But there is a certain softness in this mountain-like voice. And Shahir displays that ability with amazing ease. Whoever has ever been in his company cannot help but wonder at this.
''My death died and made me immortal'' says a famous saint. This applies aptly to Lokshahir Vithal Umap. He laid down his body during a certain function in Nagpur on the 26th of November 2010, amidst the constant chanting of ''Jai Bhim'' and ''Jai Buddha''. He stayed true to his own words when he said, ''Death should greet me while I am singing. Death should listen to my song.'' Shahir died while he sang. Shahir conquered death.
Even at the age of 80, Shahir''s enthusiasm and energy, the emotion in his voice, his sense of acting can do wonders. His words carry the sweetness of simplicity. He says,
''It still is the age to keep up through the night
It still is the age to be mad and not dance right.''
Shahir stays in Kannamwaar Nagar in Vikhroli. His house is actually too small for his five sons and their wives. Portions of the roof are giving away. But the walls of this house are filled with awards, mementos and photographs of different dignitaries. It would take hours to even count them. However in all these awards, one still cannot spot the ''Padmashri''. If a mediocre singer can be awarded a Padmashri merely for the fact of having written poems in honour of the Prime Minister, one is puzzled as to why this artiste who has served the folk art of Maharashtra, and led an entire generation through his works for almost seven decades is being deprived of it. He should get a bigger house at least to place all his awards neatly.
Shahir however doesn''t mind it too much. He wants to talk about everything else under the sun but that. He loves to have conversations. He respects all kinds of folk art forms. He is particularly interested in Shayari. Folk art and folk songs have been his subjects of interest but he is also equally taken in by Urdu Ghazals. When asked about his achievement at the age of 80, Shahir says that he cannot put it in words. Money is not everything. 'I couldn''t earn money but served my flock. I earned happiness through my service to the folk - happiness that couldn''t be bought. I have achieved this. I don''t want anything else now. My five children are carrying on my legacy with equal gumption. Legacy is really important in the society. But the same society has very few people who think of us. Although much cannot be explained about the legacy I carry, in my gharana words have always been considered the most important. Sudesh, Nandesh, Aadesh, Bhaskar (the Shahir''s sons) have understood the nuances of it. They sing through films. And most importantly, they carry the responsibility of ''Jaambhul Aakhyan'' very effectively. We are not commercial theatre-wallahs. And still Jaambhul Aakhyan is set to have its 100th show.'
The Umap household has bore through a lot in terms of expenses. 'We have a hand to mouth living. We serve the folk art through whatever remuneration we get. None of my sons have a job. A family of 15-20 people is difficult to provide for in these circumstances and we have stretched ourselves to reach the century mark. Losses happen. But folk art needs to be served. That is more important. We always present the original. That is my directive, and my sons have followed it.'
'It all started in my childhood...' Shahir gets nostalgic. 'I was swept away by Sarojini Babar''s writing. I read her folk songs. I started thinking about those and the ones sung in my household by the women. My father was an artiste. I keenly followed his placement of words, his voice... and folk art entered my blood. The early years were difficult. But things started changing once HMV brought out our record.' Songs like ''Phu bai Phu, Phugadi Phu'', ''Daar Ughad Baye Daar Ughad'', ''Kisna Sambhaal Re Sambhaal Aaplya Gaayi'', ''Koti Koti Uddhaare, Bhima Tujhya Janmamule'' started becoming popular amongst the masses. Shahir''s fishermen songs created records.
Shahir explored the Qawwali along with folk songs and Powadas. He made his mark even there too. He started as an Actor much later. But there too the heights that he achieved made others envy him. Whoever has seen Shahir performing Draupadi in Jaambhul Aakhyan would agree with me. At this age too, he presents Draupadi with the same energy and enthusiasm.
Shahir is not handsome enough to play Draupadi. But we neither meet Shahir, nor his handsomeness in Jaambhul Aakhyan. All we see is a Draupadi madly in love with Karna. All we see is a Draupadi expressing this in front of Krishna. A Draupadi like never seen before. One doesn''t need to paint one''s face to understand how difficult it is to portray such a Draupadi. Just watching Jaambhul Aakhyan once is enough. We have had actors like Sadashiv Amrapurkar, Dilip Prabhavalkar, Sayaji Shinde, Vijay Chavan, Sachin, Lakshmikant Berde who have portrayed female characters earlier. But there is a basic difference between theirs and Umap''s portrayal. The Shahir does it in his costume of the Gondhali.
It is comparatively easy to pull off a female character by wearing a saree and putting on a wig. But can you imagine doing so by keeping the male costume on? And that too with so much perfection? Some are taken in by the way this Draupadi walks while others are enchanted by her shyness. Some are fond of the way she adjusts her saree while others fall for the way her heart ''petals out''. (There is a reference of her heart ''petalling out'' on seeing Karna). Bhakti Barve, Jayashri Khadilkar, Sulabha Deshpande, Sai Paranjpye, Smita Talwalkar were all amazed by Shahir''s portrayal of Draupadi.
Shahir also talks enthusiastically about Dr. Jabbar Patel''s portrayal of Ambedkar on screen. He had presented a Gondhal in the film. Shahir is heavily influenced by Ambedkar. He believes that Shahirs and Qawwals should write more vigorous songs protesting the Manu philosophy. Ambedkar''s thought should seep into that writing. This thought should lead towards enlightenment through entertainment. 'I started serving the folk art through Ambedkari Jalsas. I still feel like going back to them even at this age since our society is ridden with Manu''s followers. Our politicians are to be blamed for this. Our artistes live only by birthdays. Politicians should look after creating an energy that would make the artistes contribute more to the society and in turn to the country', believes the Shahir. 'My last wish is to open a Shahiri Training Centre. I have applied for a space to the government. But it has been four years now. This government promises to be striving for the resurrection of the folk art. It is also working toward that. The economic package scheme for Tamasha is a welcome move. I only wish that my file shouldn''t get caught in red tapism. Tamasha and Lavani are on their way to prosperity again. But Shahiri is still lagging. They say the government doesn''t have money. But if fake Shahirs can stop being entertained, the royalties can then be turned to the true artistes. The music aides in art groups have also started calling themselves Shahirs, and also get a certificate supporting that. They are eating into the royalties of the Shahirs. This should stop somewhere. The government should set up a committee to pick out the true Shahirs', the Shahir speaks on...
*Prashant Pawar is Assistant Editor of the prominent Marathi newspaper Loksatta. He has written several articles on Literature, Culture and the Arts. He has worked extensively for promoting the folk arts, and has been an active participant himself. His research in the folk arts and knowledge of the subject are commendable. In order to improve relations between India and Pakistan, Prashant Pawar has also worked on creating a cultural bridge between the two countries. He has been an important voice for the folk artistes, and has helped them gain financial support too.
This article has been translated from the original Marathi by Asmit Pathare. Asmit''s theatre experience dates back to his college days in Sangli. He has actively participated in, and assisted various theatre productions, including HAMLET, THE CLOWN PRINCE by Atul Kumar''s The Company Theatre. Asmit is also into filmmaking. His short film ''Bombay Joker'' was screened at the MAMI festival in 2009. He is currently working on an international, collaborative film project, and has been selected for it as one amongst the 25 directors from around the world. Asmit writes poetry too and has his own blog.
