BY: AKANKSHA SHUKLA
The experiences and histories of the marginalised and common people have often been neglected in the field of research. In the recent times, there have been attempts made at reviving the past of the marginalised communities in India. As a result, the experiences of women have gained attention too. However, the histories of certain groups of women have remained unexplored. These women are considered to be vulgar and morally degraded. An example of such a group is the tawaifs who were independent and had greater interaction in the social spheres. The tawaifs defied gender roles, caste and class hierarchies due to which they were considered to be threatening. They were not viewed as respectable women as they did not comply with the idea of a pure and respectable woman who was confined to her household. The nationalist and feminist scholars too have ignored the history of the tawaifs. As a result there are few records that reflect the important role that this community played in different spheres. This has now become an obstacle in understanding the social history of northern India during the period of Indo-Islamic state.
Tawaifs were a group of elite female performers in northern India in the 18th and 19th century. They were extremely talented in singers and dancerswho performed in private parties of elites, royal courts and kothas, bringing the Persian culture of Shia kingdoms to the Indian culture.They also composed poetry in Urdu. These women were considered to be one of the most educated women of their times. The tawaifs played a significant role in the development of Kathak and Thumri. According to ManjariChaturvedi (founder of Sufi Kathak Organisation), seated abhinaya or Baithikiabhinaya which is believed have been introduced by Shambu Maharaja, was in fact a trademark of the tawaifs. However, in the 20th century, the effort to revive Indian art and culture disassociated the tawaifs from kathak and thumri even though they are considered to be their original performers. This community was prominent in the North-western province of India, especially in cities like Banaras, Allahabad and Lucknow. According to some records, the tawaifs moved from one place to another in search of wealthier patrons. Historian VeenaTalwarOldenburg’s research gives details about the community structure of the tawaifs of Lucknow. This community followed the matrilineal form of descent. They worked under a chief courtesan called the ‘chaudharayan’. This community consisted of both men and women. The women born within the community received specialised training in singing and dancing. They also inherited property from their predecessor. Some of the women entered this community to escape oppression and in some instances the women were also kidnapped and incorporated within the community. The men were either born within the community or were hired by the chief courtesan. These men worked as cooks, instrumentalists, guards and servants. The audience of the tawaifs comprised of the men who were also patrons. They also received patronage from nawabs. The kothas became cultural space where women produced music and administered performances. Their cultural production made the tawaifs a cohesive group and gave them a unique identity.
The artistic skills of this community also made them the pioneers of Indian cinema. In the 1920s, the colonial ideas became prominent within the Indian society due to which the tawaifs began to lose their prestige. There was a decline in their demand and the number of kothas reduced. In order to support themselves financially in such a circumstance, they began to work in theatres and cinema. Some entered the gramophone industry while others entered the Parsi theatre. The tawaifs became the first women to act in films. Jaddanbai, who was initially a tawaif, ran her own production company called SangeetMovietone. She produced, directed and composed music for films. Fatma Begum was the first woman director of Indian cinema. She was one of the first filmmakers to explore the fantasy genre which is evident from the special effects in the film Bulbul-e-Paristan. She too ran a production house called Fatma Films.GauharJaan, a courtesan from Kolkata, was one of the first vocalists of India to be recorded.The music and grammar of hindi films is heavily influenced by the culture of the tawaifs. An example is the song ‘MohePanghatPeNandlalChed Gaye Ro’from the film Mughal-e-Azam(1960) which was recreated from the music of the tawaifs of Uttar Pradesh. This song was originally sung as jagmohana.The culture of the tawaifs has inspired multiple musicians like S D Burman and SalilChowdhary. Their culture have also inspired many films like UmraoJaan(1981) and Pakeezah(1972). Despite making valuable contributions to the Indian cinema, the tawaifs were subjected to unfair treatment due to their sexuality and sensuality. They were asked to enter from the back entrance of the radio station and the unmarried tawaifs were denied airtime. This unfair treatment was the result of the influence of the Victorian ideas of morality and the nationalist idea of a perfect mother and wife.
Jaddanbai Gauhar Jaan
This community also played a significant role in India’s struggle for freedom. Some of the unsung heroes of the freedom struggle included the tawaifs.Their contributions are alive in the memories of the local people and local legends. Azeezunbai, born to a courtesan, worked as a spy and messenger from Lucknow. She also organised female fighters. Her house became a place where the sepoys gathered and planned their strategies. She took part in the Cawnpore Siege in 1857. Azeezunbai fought alongside the soldiers on a horseback wearing male attire. The participation of the tawaifs in the Revolt of 1857 is evident from the British official records that mention their names in the list of individuals whose properties were confiscated by the British. Nasreen Begum started the Dandi March with Mahatma Gandhi. The Raja of Bettiah in Bihar gifted her, a palace and a plot of land. She eventually gave away the palace, her land and wealth to fund the freedom struggle. GauharJaan contributed Rs 12,000 to Gandhi. She also organised mehefils to raise funds. She only wore sarees of Khadi symbolising her dedication to the freedom movement. During the Non-cooperation Movement (1920-1922), the tawaifs of Varanasi established the Tawaif Sabha which worked towards the cause of independence. In 1920, Gandhi gave a speech in front of 20000 people at Town Hall in Varanasi. The audience also included a group of tawaifs who were led by Vidyadhari Bai. These tawaifs were greatly influenced by Gandhi’s speech. Vidyadhari sang nationalist songs in her mehefil. She refused to wear foreign made clothing and strictly wore clothes which were made in India. She also organised meetings in her house to encourage other tawaifs to join the non-cooperation movement. Jaddan Bai too provided financial support to the Progressive Writers Association. However, their activities in the freedom struggle also caused tension. Gandhi did not attend GauharJaan’smehefil which was organised to raise funds. He instead sent a representative. Her participation in one of the Congress sessions was objected by some lady supporters and she was asked not to participate in the session.
The tawaifs were women who had agency and power. They extensively participated in political activities. Through their participation in cultural and political activities, they defied social norms and challenged gender biases. These were politically conscious and financially independent women who expressed their sexuality and sensuality. Their legacy is preserved through oral traditions, dance, music, local legends, films and some official records. Their work continues to influence the Indian culture and variousforms of art to this day despite the fact that they have been ignored and invisibilized for centuries. They expressed themselves through poetry, music and dance which also contributed towards India’s cultural heritage.
References
Jstor- Visibilising the ‘Other’ in History: Courtesans and the Revolt by Lata Singh
Jstor- The Courtesan Project and the Tawa’ifs’ Cultural Commons by SOHINI CHANDA, ARCHANA PATNAIK, SUHITA CHOPRA CHATTERJEE
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