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67-416: The song "What Might Have Been" is a lament about a relationship that didn't work out. The narrator tells his former romantic interest that he can't change the past, and that there is no way to know what their relationship could have become. The song "What Might Have Been" has two music videos, both directed by Jack Cole . The first version is filmed entirely in sepia tone. It focuses on World War II and shows

134-731: A Girl's Best Friend " in Gentlemen Prefer Blondes . Ever the perfectionist, Cole dictated nearly every aspect of her performance, from the camera setups and the lyrics to her gestures and phrasing, turning the original Broadway version, which Cole considered " square ", into something far more swinging and sensual. Cole relied on the technique he learned in his years studying bharata nāṭyam, and had integrated with swing in his nightclub performances, to lead Monroe through small, sharp changes of direction as she performed her refined bump and grind. Monroe's performance established her persona in her later musical and comedy roles. Although Monroe

201-531: A Pack of Hungry Cannibals , Japanese Lanterns , and Love Dance , combined the exoticism of Denishawn with jazz. In Swing Impressions of an East Indian Play Dance Cole used the mudras and other features of the classical Indian lexicon to create intricate routines, which he set to big band swing arrangements to create a style the press called "Hindu Swing". Cole went in a different direction in 1939, forming "Ballet Intime" with dancers Ernestine Day, Letitia Ide, Fe Alf, George Bockman, and Eleanor King. They adapted

268-578: A certain way as a person, but when you dance you must bring real emotion to whatever you're doing. Isn't that what dancing is about—emotion, life—and not just patterns in the air?" Cole's style was widely influential; as Agnes de Mille once said, many choreographers, including herself, Fosse, and Robbins, "all stole from Jack Cole". Cole's unmistakable style endures in the work of Gwen Verdon, Bob Fosse, Jerome Robbins, Gower Champion , Peter Gennaro , Michael Bennett , Tommy Tune , Patsy Swayze , Alvin Ailey (who

335-450: A couple dancing before the man goes off to war. The video then cuts to old stock footage from the war, with the band performing throughout the video. This version of "What Might Have Been" has been played on CMT , TNN , and GAC , as well as CMT's sister channel, Pure Country . It is a popular song that has been covered by many artists. "What Might Have Been" debuted at number 72 on the U.S. Billboard Hot Country Singles & Tracks for

402-429: A couple dancing just before the man has to go off to war. Old stock footage from the war is also shown. The second version of "What Might Have Been" premiered on CMT on May 16, 1993. In this version, Michael brings his son, Tommy, to visit Michael's grandfather, Nathan, who lives in a nursing home. Tommy had found a photograph of his great-grandfather, Nathan, with a woman he met during World War II, named Clarice. He took

469-668: A dancer and choreographer began in the 1930s and lasted until the mid-1960s. Beginning in modern dance , he worked in nightclubs, on the Broadway stage, and in Hollywood films, ending his career as a teacher. He was an innovative choreographer for the camera and a hugely influential choreographer and teacher, training Gwen Verdon , Carol Haney , and Buzz Miller , among many others, and influencing later choreographers, such as Bob Fosse , Jerome Robbins , and Alvin Ailey , all of whom drew heavily from his innovations. Born as John Ewing Richter to

536-689: A duet with Anna, and 'Hindu Wedding', for inclusion in her production, 'Oriental Impressions'. The ballet was presented at the Royal Opera House , Covent Garden , in London. Later he continued to conceive and choreograph ballets, including one based on the Ajanta Caves frescoes , which was performed across the United States. In time his style of dance came to be known as 'Hi-dance', though later he called it 'Creative dance'. He worked with Anna for one and

603-507: A great deal of coiled energy; as Village Voice dance critic Debra Jowitt wrote, "Cole dancing strikes me as immensely aggressive; almost every gesture is delivered with maximum force, but then has to be stopped cold in mid-air to achieve the clarity of design he wanted...an immense counter effort has to be used to stop the gesture." Cole generally insisted that dancers maintain a cool, cold facial expression, but demanded that they nonetheless invest every movement with meaning and emotion: "In

670-695: A half years, before starting out on his own in Paris. Shankar returned to India in 1927, along with a French pianist, Simon Barbiere, who was now his disciple and dance partner, and a Swiss sculptor, Alice Boner , who wanted to study Indian art history. He was welcomed by Rabindranath Tagore himself, who also persuaded him to open a performing arts school in India. On his return to Paris in 1931, he founded Europe's first Indian dance company, along with Alice Boner , who by now had become one of his disciples. Together with musicians Vishnu Dass Shirali and Timir Baran, he created

737-566: A new template for music to accompany his newly devised movements. His first series of dance performances were held on 3 March 1931, at the Champs-Elysees Theatre in Paris, which was to become his base as he toured through Europe. Soon he embarked on a seven-year tour through Europe and America with his own troupe, which he called – 'Uday Shankar and his Hindu Ballet', under the aegis of impresario Sol Hurok and Celebrity Series of Boston of impresario, Aaron Richmond . He performed in

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804-583: A nightclub gig at Ciro's . Cole was hired to provide a specialty dance for the 20th Century Fox film, Moon Over Miami (1941), choreographed by Hermes Pan . His performance was cut, however, as he showed "a little bit too much pelvis and too much bare chest—just too much male sensuality" for the studio's taste. Cole continued to push the boundaries of what the censors would allow throughout his career in Hollywood. He played with homoerotic images in both Betty Grable 's number "No-Talent Joe" in Meet Me After

871-636: A noted classical singer, Zohra Sehgal , who performed on the stage, television, and the cinema both in India and in Britain. In December 1983, his younger brother, sitar player Ravi Shankar organised a four-day festival, Uday-Utsav Festival in New Delhi, marking the 60th anniversary of his professional debut in 1923, highlighted by performances by his disciples, films, an exhibition and orchestral music composed and orchestrated by Ravi Shankar himself. The centenary celebrations of his birth were formally launched at

938-482: A paucity of funds. As his students dispersed, he regrouped his energies and headed South, where he made his only film, Kalpana (Imagination) in 1948, based on his dance, in which both he and his wife Amala Shankar danced. The film was produced and shot at Gemini Studios , Madras . In 2008, the film was digitally restored by the Cineteca di Bologna , in association with The Film Foundation ’s World Cinema Project and

1005-455: A second-story window. Even so, he acquired a loyal following of students and collaborators. He could be extremely patient, as he was with Jane Russell and Marilyn Monroe while filming "Diamonds Are a Girl's Best Friend". If not for Cole, it is unlikely Gwen Verdon would have gone on to achieve fame as a dancer; without his instruction, many stage and screen actresses probably would not be remembered as dancers today. Even so, Cole never attained

1072-456: A six-month residency, with his troupe and lead dancer, Simkie. Also present there were Michel Chekhov, nephew of Russian playwright Anton Chekhov, the German modern dancer-choreographer, Kurt Jooss and another German Rudolf Laban , who had invented a system of dance notation . This experience only added more exuberance to his expressionist dance . In 1938, he made India his base, and established

1139-444: A son, Ananda Shankar , born in 1942, and a daughter, Mamata Shankar , born in 1955. Ananda Shankar became a musician and composer who trained with Dr. Lalmani Misra rather than with his uncle, Ravi Shankar, and in time became known for his fusion music, encompassing both European and Indian music styles. Mamata Shankar, a dancer like her parents, became a noted actress, working in films by Satyajit Ray and Mrinal Sen . She also runs

1206-485: A white Catholic man, on exotic ethnic dance traditions. Dance historian Constance Valis Hill allows that the elements of ethnic dance he pulled from were either "absorbed, borrowed, or appropriated." Regardless, she says, Cole honors the aesthetics of the cultural dances he uses by weaving them into works without altering their shapes or rhythms; a critic of Indian dance likewise wrote in 1945 that Cole "[performed] authentic Indian dance technique to swing tempos without losing

1273-566: A working-class family in New Brunswick, New Jersey in 1911, he later adopted his stepfather's surname, along with the nickname he was known by, to become Jack Cole. Cole attended Columbia University for a time, but dropped out in 1930 after seeing a performance by Ruth St. Denis and Ted Shawn , founders of the Denishawn School of Dancing and Related Arts . Once Cole left Columbia he joined St. Denis' and Shawn's school and dance company. He

1340-687: A young age, he had been exposed to both Indian classical dance and folk dance, as well as to ballet during his stay in Europe. He decided to bring elements of both styles together to create a new dance, which he called Hi-dance. He went on to translate classical Indian dance forms and their iconography to dance movements, after studying the Rajput painting and Mughal painting styles at the British Museum. Further, during his stay in Britain, he came across several performing artists, subsequently when he left for Rome on

1407-513: Is rightly credited for ushering in a new era for traditional Indian temple dances, which until then had been known for their strict interpretations, and which were also going through their own revival. Meanwhile, his brother Ravi Shankar was helping to popularise Indian classical music in the outside world. In 1936, he was invited by Leonard Knight Elmhirst , who had earlier assisted Rabindranath Tagore in building Sriniketan , close to Shanti Niketan , to visit Dartington Hall , Totnes, Devon for

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1474-622: The City College of New York with the Denishawn Dancers , led by St. Denis and Shawn, in August 1930, only six weeks after beginning his training with them. After that dance company collapsed in 1931 because of personal differences between Shawn and St. Denis, Cole became a member of Shawn's new troupe, "Ted Shawn and His Men Dancers", and helped Shawn found the renowned summer dance hub, Jacob's Pillow , in 1931. He later studied and performed with

1541-703: The National Film Archive of India , among others. Uday Shankar settled in Ballygunge , Kolkata in 1960, where the "Uday Shankar Center for Dance" was opened in 1965. In 1962, he was awarded the highest award of the Sangeet Natak Akademi , the Sangeet Natak Akademi Fellowship for his lifetime contribution to Indian dance . Uday is the elder brother of Ravi Shankar . He married his dance partner, Amala Shankar , and together they had

1608-734: The Nicholas Brothers and the Berry Brothers , who featured the high-flying splits and acrobatic knee slides that Cole later made a hallmark of his choreography. During the 1930s his interests expanded to Latin American and Afro-Caribbean dances. The large Cuban migration to New York in the late 1940s brought the mambo , rumba , and cha-cha-cha to the dance halls, and Cole drew from these vocabularies as well. He also studied Flamenco with Paco Cansino , film star Rita Hayworth 's uncle. Cole also studied classical ballet with Luigi Albertieri,

1675-555: The Royal College of Art , London to study painting under Sir William Rothenstein . He danced at a few charity performances that his father had organized in London, and on one such occasion, noted Russian ballerina Anna Pavlova happened to be present. This was to have a lasting impact on his career. Uday Shankar did not have any formal training in any of the Indian classical dance forms. Nevertheless, his presentations were creative. From

1742-738: The Sangeet Natak Akademi Fellowship for lifetime achievement, and in 1971, the Govt. of India , awarded him its second highest civilian award the Padma Vibhushan . Uday Shankar Chowdhury was born in Udaipur, Rajasthan, the eldest son of an Brahmin family with origins in Narail (present-day Bangladesh ). His father Shyam Shankar Chowdhury , a noted barrister, was employed with the Maharaja of Jhalawar in Rajasthan at

1809-507: The ' Prix de Rome ' scholarship of the French Government, for advanced studies in art. Soon his interaction with such artists grew and so did the idea to transform Indian dance into a contemporary form. The turning point came with his first meetings with legendary Russian ballerina Anna Pavlova. She was looking for artists to collaborate on India-based themes. This led to the creation of ballets based on Hindu themes, ' Radha - Krishna ',

1876-738: The 'Uday Shankar India Cultural Centre', at Simtola, 3 km from Almora , in Uttarakhand Himalayas , and invited Sankaran Namboodri for Kathakali , Kandappa Pillai for Bharatanatyam , Ambi Singh for Manipuri and Ustad Allauddin Khan for music. Soon, he had a large assemblage of artists and dancers, including Guru Dutt , Shanti Bardhan, Simkie, Amala, Satyavati, Narendra Sharma, Ruma Guha Thakurta , Prabhat Ganguly, Zohra Sehgal , Uzra, Lakshmi Shankar , Shanta Gandhi ; his own brothers Rajendra, Debendra and Ravi also joined him as students. The centre, however, closed after four years in 1942, due to

1943-885: The 'Udayan Dance Company' in Kolkata, and travels extensively through the world. Uday (b. 1900, d. 1977) and Amala Shankar (b. 1919, d. 2020) decided to open Uday Shankar India Culture Centre (named after Uday Shankar's Almora centre for dance) in Kolkata in 1965, where Amala Shankar remained the Director-in-Charge, from the day of its inception. She was awarded the Padma Bhushan in 1991. The school continued until 2015, remaining dedicated to carrying on with Shankar's ideas about processes of innovative and creative dance making. Shankar's followers and associates include Shanti Bardhan, creator of Ramayana ballets presentations, Guru Dutt , one of India's finest film directors, Lakshmi Shankar ,

2010-496: The Blame on Mame " in Gilda . As Cole wrote, years later, "I must say of all the things I ever did for movies, that's one of the few I can really look at on the screen right now and say: If you want to see a beautiful, erotic woman, this is it. It still remains first class, it could be done right now." Seven years after Gilda Cole not only choreographed, but directed Monroe in " Diamonds Are

2077-512: The Broadway musical Kismet in 1953. Cole returned to New York and Broadway after his film career ended in 1960. His first two productions, Donnybrook! and Kean , which he directed as well as choreographed, were both flops, but he followed them by choreographing A Funny Thing Happened on the Way to the Forum in 1962 and Man of La Mancha in 1965. . Cole first came to Los Angeles in 1940 when offered

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2144-874: The Show and "Ain't There Anyone Here For Love" sung by Jane Russell in Gentlemen Prefer Blondes , both of which featured scantily clad young men stoically ignoring those two bombshells . Censors also insisted on the removal of some of the lyrics and dance moves from the Cole Porter number "Ladies in Waiting" in Les Girls (1957) , which nonetheless remains quite racy, even in redacted form. Cole found Hollywood's approach to shooting dance sequences frustrating. Studios at that time typically regarded choreography, set design and costuming as distinct operations, often coming together for

2211-595: The United States for the first time in January 1933 in New York City, along with his dance partner Simkie, a French dancer. As part of the visit, a reception was held at the Grand Central Art Galleries . After, Shankar and his troupe set out on an 84-city tour throughout the country. His adaptation of European theatrical techniques to Indian dance made his art hugely popular both in India and abroad, and he

2278-548: The adopted son and student of Enrico Cecchetti , while he was still part of the modern dance movement. Cole was introduced to the Cecchetti ballet technique , a rigorous training program that established the model of standardised teaching which is the basis of all professional ballet teaching today. He later incorporated the Cecchetti method in his teaching. Cole's career trajectory was unique for an American dance artist. He started at

2345-466: The age of eighteen, he was sent to Mumbai to train at the J. J. School of Art and then to Gandharva Mahavidyalaya . By now, Shyam Shankar had resigned his post in Jhalawar and moved to London. Here he married an English woman and practised law, before becoming an amateur impresario , introducing Indian dance and music to Britain. Subsequently, Uday joined his father in London, and on 23 August 1920, joined

2412-413: The basic vocabulary of jazz dancing—the kind of dancing done in nightclubs and Broadway musicals". Cole-style dancing is acrobatic and angular, using small groups of dancers rather than a large company; it is closer to the glittering nightclub floor show than to the ballet stage. His style required a great deal of concentration; as Florence Lessing, one of his earliest partners, observed "So many parts of

2479-479: The body, so many muscles moving in opposition to each other, and each in isolation from the other!" Cole derived many of his isolations from bharata nāṭyam, and used them to show rhythmic flow throughout the body, just as African-American dancers did after swing gave way to bop. Cole's dancing was often described as "animalistic" or "cat-like", referring to the smooth transition of weight from foot to foot, while maintaining his torso erect. Cole's style also featured

2546-411: The crisp arm movements and other features of classical South Asian dance he acquired through his studies throughout his career, both in those numbers in movies such as Kismet that explicitly evoked exotic Asian themes and in performances as far removed from them as " Diamonds Are a Girl's Best Friend " by Marilyn Monroe in Gentlemen Prefer Blondes . Cole also paid particularly close attention to

2613-604: The dances that African-Americans were inventing in the dance halls of the twenties and thirties, such as the Camel Walk , the Charleston , and the Lindy Hop . As Cole once wrote, "Whatever is danced in the name of jazz dancing must come from the Lindy, necessarily theatricalized and broadened for the stage, of course." He also drew inspiration from professional African-American dancers such as

2680-452: The exact shape you needed with your hands. I remember once he worked with us for hours on how a particular handclap should sound." Cole could also be abusive; as he told Dance Magazine in 1968, "Sometimes you have to slap them. Sometimes you have to kiss them." He cursed at nearly everyone, even his long-term friends and collaborators, and once dragged a student by her hair across the rehearsal room floor and threatened to toss another out

2747-462: The feet, were absorbed and reshaped in the body". Cole followed their lead, while adding innovations of his own. Cole had begun his Broadway career as a performer in 1933 in the two-act ballet, The Dream of Sganarelle , which Humphrey and Weidman choreographed and danced in. He had a few Broadway roles over the next decade, the most prominent being "The Groom" in The Wedding of a Solid Sender and

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2814-495: The first time on the first day of filming. Cole, by contrast, sought control over the design of the sets and his dancers' outfits. He also chafed at the often static camera setups used to film dance numbers. In his Ladies in Waiting number the point of view jumped from the audience's view of the dancers to the dancers' view of the audience—with the stage lights blinding the dancers, as they often did—then jumped again to backstage. Later director/choreographers, such as Bob Fosse, used

2881-442: The general dignity of the art." And, as a more recent appreciation notes, Cole studied bharata nāṭyam intensively, but did not present his dancing as authentic recreations of classic Indian dance, unlike others, such as St. Denis, who had a more superficial understanding of the tradition, but presented their work as authentic. Uday Shankar Uday Shankar (born Uday Shankar Choudhary ; 8 December 1900 – 26 September 1977)

2948-625: The group, now known as "Jack Cole and His Company", played the Latin Quarter in New York City, offering a suite of East Indian dances, a jitterbug -inspired dance to Benny Goodman 's Sing, Sing, Sing , followed by a jazz arrangement for six dancers, and ending with a suite of Latin American dances to a Latin-swing arrangement. The mix of styles went beyond the eclectic list of dances: Cole's choreography for Sing, Sing, Sing, for example, had its roots in African-American vernacular dance, but

3015-580: The lead in the Hindu Serenade segment, both featured in the Ziegfeld Follies of 1943 . His first Broadway credit as a choreographer was Something for the Boys in 1943, starring Ethel Merman with music and lyrics by Cole Porter and Dorothy Fields . Cole remained active on Broadway throughout the 1940s and 1950s, maintaining a Manhattan pied-à-terre even while working in Hollywood, and choreographing

3082-674: The modern dance world in 1934 and opted for opportunities in nightclubs, initially partnering with Alice Dudley, another former Denishawn student. He began his commercial dance career at Manhattan's Embassy Club, owned by Dutch Schultz , then opened the Rainbow Room on its inaugural evening in October 1934. For years he danced in a trio with Anna Austin, whom Cole had met while she was teaching South Asian dance, and Florence Lessing, one of Austin's students, who met Cole in one of Paco Cansino's classes. Cole's early nightclub acts, such as Dance for

3149-407: The photo to Nathan and showed it to him. Nathan and Michael visit Clarice. During the visit, Nathan tells Michael various stories about Clarice. He also tells Michael that he and Clarice lost contact with each other after the war ended. After Michael and Tommy leave, Nathan is walking through the nursing home hallways when he passes an elderly woman. He notices that she is sitting on a bench, staring at

3216-576: The pioneering modernists Doris Humphrey and Charles Weidman , who had earlier managed the Denishawn school's New York City operations before leaving to form their own troupe. Cole was still barely getting by, sleeping in Humphrey and Weidman's studio as well as taking classes there. Cole's career as a dance artist then took a unique trajectory. Eager to make a living as a dancer during the Depression, he left

3283-488: The recognition enjoyed by the likes of Fosse and Robbins. Cole virtually invented the idiom of American show dancing known as "theatrical jazz dance." He developed a mode of jazz - ethnic - ballet that prevails as the dominant dancing style in today's musicals , films , nightclub revues , television commercials and music videos . According to Martin Gottfried, Cole "won a place in choreographic history for developing

3350-497: The rest of his life, both in his role as choreographer in nightclubs and on Broadway and in Hollywood, and later at Jacob's Pillow and at the University of California, Los Angeles , where he had been teaching for two years before his death in 1974. Cole was a perfectionist, who demanded the same of his students and those he was working with. As Chita Rivera recalled "He dictated every last detail of how he wanted you to twist an arm or

3417-635: The rumba to Cole Porter 's Begin the Beguine in West Indian Impressions while using the characteristic arched stance and rapid-tapping heels of flamenco dance in Babalu . In 1942 he focused on African-American themes in Wedding of a Solid Sender , Reefer Man , and Reefer Joint, 4:00 A.M. Yet even though his dances now referred overtly to American and Latin cultures rather than Asian ones he continued to use

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3484-420: The same technique to great effect. As Cole established his reputation in Hollywood he worked with established stars—Rita Hayworth, Betty Grable , Ann Miller , and Jane Russell—and with one actress on the verge of stardom—Marilyn Monroe. He built up their strong, self-aware and self-confident personas through his choreography. Cole led the supremely talented Hayworth to give a tour de force performance in " Put

3551-460: The sharp dynamics and clarity of line characteristic of bharata nāṭyam. After moving to Hollywood in the early 1940s, Cole returned to nightclubs at the end of the decade when a studio strike left him free to take his troupe of Columbia Pictures dancers, which included Florence Lessing, Rod Alexander, Carol Haney , Buzz Miller , and Gwen Verdon , to Chez Paree in Chicago in 1947. Several months later

3618-647: The small group of dancers that helped Shawn found the renowned summer dance hub, Jacob's Pillow . 79 years later, Jacob's Pillow faculty member Chet Walker, best known for performing in Bob Fosse musicals and his later creation of the tribute musical Fosse , also conceived a Jack Cole tribute musical titled Heat Wave: The Jack Cole Project , given its world premiere in May 2012 at Queens Theatre in New York's Flushing Meadows Corona Park . Some critics challenge Cole's fixation, as

3685-652: The style he sometimes called "jazz-ethnic-ballet" through daily classes on the Columbia lot. Cole drilled his students in classical ballet technique using the Cecchetti method, as well as flamenco, ethnic and modern dance, and gymnastics, and brought in Uday Shankar to instruct them in the techniques of bharata nāṭyam during the six to nine months that preceded actual rehearsals for a film. Among his students were Gwen Verdon and Carole Haney, both of whom achieved even greater renown working with Bob Fosse. Cole continued teaching for

3752-453: The theatre you want to see real people doing real things, expressing valid emotions in an artistic, meaningful way, disclosing bits of insight that will transfix you and make you understand something about life, and about yourself....I just try to touch the dancer at the center of his emotion. I try to remind him of what he is—a dancer, and actor, a real person. If you're ashamed of this or that emotion, you can't dance. You yourself may not behave

3819-465: The time of his eldest son's birth, and his mother Hemangini Devi was descended from a zamindari family. His father was granted the title, 'Harchowdhury' by the Maharajas , but he preferred to use the surname ' Chowdhury ' minus 'Har.' Uday's younger brothers were Rajendra Shankar, Debendra Shankar, Bhupendra Shankar and Ravi Shankar . Of his siblings, Bhupendra died young in 1926. Uday Shankar's father

3886-469: The very roots of modern dance, then segued into a commercial career in nightclubs across the nation, first at Manhattan's Embassy Club, then opening the Rainbow Room on its inaugural evening in October 1934. His career spanned three major arenas: nightclub, Broadway stage, and Hollywood film. He ended his career as a popular coach to Hollywood stars and an innovative choreographer for the camera. Cole made his professional dance debut at Lewisohn Stadium at

3953-410: The wall. Clarice was a long lost love of his. One day, he was walking down when he suddenly stopped and turned around. He thought he saw someone who looked familiar. It turned out to be Clarice. As Clarice and Nathan reunite, the video then flashes back to show them as younger versions of themselves sharing a kiss. The video for "What Might Have Been" is a series of scenes set during World War II. It shows

4020-551: The week of May 29, 1993. Jack Cole (choreographer) Jack Cole (born John Ewing Richter ; April 27, 1911 – February 17, 1974) was an American dancer , choreographer , and theatre director known as "the Father of Theatrical Jazz Dance " for his role in codifying African-American jazz dance styles, as influenced by the dance traditions of other cultures, for Broadway and Hollywood. Asked to describe his style he described it as "urban folk dance". His work as

4087-674: Was a Sanskrit scholar, who graduated with honours from the University of Calcutta and later studied at Oxford University , where he became a Doctor of Philosophy. Because his father moved frequently on account of his work, the family spent much time in Uday's maternal uncle's house in Nasratpur with his mother and brothers. Uday's studies also took place at various locations including Nasratpur, Gazipur , Varanasi , and Jhalawar. At his Gazipur school, he learnt music and photography from Ambika Charan Mukhopaddhay, his Drawing and Crafts teacher. In 1918, at

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4154-546: Was a dancer in Cole's Broadway musical Jamaica ), and countless other dancers and choreographers including Wayne Lamb . Verdon, who was Cole's assistant for seven years, said that "Jack influenced all the choreographers in the theater from Jerome Robbins, Michael Kidd , Bob Fosse down to Michael Bennett and Ron Field today. When you see dancing on television, that's Jack Cole." After the disbanding of Denishawn Dance, Cole's continued working relationship with Ted Shawn placed him in

4221-462: Was acquiring a reputation for being difficult and undisciplined, she responded positively to Cole's controlling style on this shoot and insisted on language in her next contract with 20th Century-Fox that required that he be hired to choreograph her in any movie in which she was called on to dance. They worked together on five more films and remained close friends even after their working relationship ended. Their last film, Let's Make Love , which

4288-453: Was also "informed by East Indian, Latin American, and Caribbean musical traditions and dance forms, as well as by the modern American dance traditions of Denishawn and Humphrey-Weidman ". At the same time, works such as Sing, Sing, Sing celebrated jazz dance styles, such as the Lindy, that were changing radically with the switch from swing to bebop , as dancers created "a 'modern' style of jazz dance in which rhythms, previously reserved for

4355-715: Was also Monroe's last musical comedy role, was less harmonious, as Monroe was chronically late for rehearsals, if she appeared at all, and less focused. This was also Cole's last film, as movie musicals had become less popular and profitable by the end of the 1950s and musical tastes changed. Cole returned once more to Broadway. Cole brought his dance groups to television throughout the 1950s, appearing in Bob Hope specials as well as The Perry Como Show (1948–50 and 1955–59 seasons) and Sid Caesar 's Your Show of Shows (1950–54). When Cole started work at Columbia Pictures in 1944, he assembled his own company of dancers whom he trained in

4422-503: Was an Indian dancer and choreographer, best known for creating a fusion style of dance, adapting European theatrical techniques to Indian classical dance , imbued with elements of Indian classical, folk, and tribal dance, which he later popularised in India, Europe, and the United States in the 1920s and 1930s. He was a pioneer of modern dance in India. In 1962, he was awarded by Sangeet Natak Akademi , India's The National Academy for Music, Dance and Drama , with its highest award,

4489-654: Was entranced by the Asian influences they used in their choreography and costuming, although he was unimpressed by the surface-level imitation of eastern dance traditions St. Denis put forth. His fascination with Asian dance inspired him, however, to incorporate more authentic elements of other cultures' dance traditions into his work through studying a number of foreign dance forms. Cole became well-versed in bharata nāṭyam , India's oldest dance technique, first by studying with dancers Uday Shankar and La Meri and later by sharing rehearsal space with Bhaskar Roy Chowdhury. Cole used

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