Artist: Shankar Motiram Barot
Folk instrument(s) : Tabla, Harmonium, Dholak, Manjira, Jhanjh. 
Vocals: Aaradhivani
Village: Anjar, Kachchh.

Shankar’s journey with music began from very early childhood. Learning to play Jhanjh by the time he was 6 years old. Music has always been in his family. The Barot community has traditionally been a community of musicians for many generations. Shankar’s father too was a very well known singer in Kachchh.

His first stage performance happened at a social event in a village called Dhori. He played the instrument Jhanjh that day.  “8 year old I was but my father thought I would be able to play (the instrument).  So he took me along to Dhori (village) and I played the whole night”.

He went on to perform in more than 700 programs, since then. Traversing almost all of the India. And in the process earned a fame and respect for himself.

Shankar soon transitioned to Tabla from Jhanjh. He attended classical music courses on Tabla. And completed them successfully.

He witnessed growth in music as a career after the 2001 earthquake. Paid events began to come by. People could sustain themselves, at least partly, on music. Communication became easier too with mobiles. And also one’s work could reach far more audience today thanks to media including news, and social media.

“I remember how difficult it used to be in 80’s and 90’s to coordinate a music program in villages. Particularly when musicians from other villages were to be invited.” Says Shankar remembering his early days as a folk music artist.

“Somehow the organisers would reach out to the musicians and communicate the information about the location, time, venue and theme for the folk music evening. But sometimes the program got cancelled or the date shifted. And there wasn’t a way for that communication to reach us in that short notice. Sometimes we would travel all the way to a far-away village drenched in rain, on a scooter, only to know that the program got cancelled.

But that was fun. Those days of uncertainty, unpredictability, travelling around scooter with our instruments. It was full of innocence and joy. To me that was a golden period for my music despite all the struggles.” adds Shankar

In the last 8 years (since 2012), Shankar took on a much bigger role – how to make folk music of Kachchh sustainable for its artists? He played an important part in the formation of Kala Varso and is one of the board members of the Kala Varso trust. He knew that if his musical heritage were to sustain and pass-on to the next generation, then he has to see it in relation to the whole of Kachchh’s folk-music scene, not just his individual sustenance. “My music has no meaning if it were to thrive individually. While the folk traditions of the surrounding villages deplete so rapidly. Eventually those same factors would get a grip on my musical heritage too.”

He took part in Riyaz Shala -folk music school in Rudrani village –  training programs at Rudrani for 2 years. In the training he learnt to record in a studio, to sing, to fusion with Western Classical instruments, and how to synchronize tal, sur with fellow musicians etc. There is a sense of added professionalism now to his music. For example, ensuring that his instruments are properly tuned for the performance.

Adding further the importance of Riyaz Shala, that goes beyond just training programs “There is a growing sense of rivalry among Folk Music artists today, which is counter-productive to the ecology of Kutch Folk Music. Riyaz Shala’s role to bring folk musicians together on a single platform is very vital to sustain the folk music of the region. In Riyaz  Shala, when we artists meet for practice sessions, we help each other improve and that’s very important. This ‘sangam’ (meeting/confluence) is bringing forth new possibilities and new sounds.”

“There is one more thing that needs to be addressed urgently”, says Shankar. “How to attract the young folk musician to take up his/her folk heritage forward? And how to keep his interest alive?”