In the timeless
echo of history, where the soul of art entwines with the rhythms of existence,
a new chapter unfolds from The Courtesan Project series by Classical
Dancer, Creator of Sufi Kathak, and Restorer of the Dance of Tawaifs Manjari
Chaturvedi. It is not your ordinary concert; it's a journey through
time, a resounding exploration of gender discrimination in the performing arts,
and a celebration of the indomitable spirit of the Tawaif and Baiji – the
unsung heroines of 16th to 20th-century North India.
This scintillating spectacle is a
living, breathing testament to the rich heritage and an ode to the erstwhile
Tawaifs, challenging the roles ascribed to women performers and society's lens
that has shaped their narrative. Experience this heartfelt tribute, a unique
first-person account, crafted through the labour and love of countless academic
seminars and performances, promoting the intangible cultural heritage that was
nearly lost to time.
As the curtains rise, and the stage
comes alive with history, join us to discover the stories of resilience and
bring to the foreground the artistry of the women who also sang for India’s
freedom.
Unexplored History of Indian Tawaifs
The tawaifs were extremely proficient in music and dance
and were considered highly sophisticated courtesans of the Indian subcontinent.
The origin of word Tawaif is believed to be from the Arabic word ‘tauf’ or
‘tawaf’ which means circling around. ‘Tawaf’ is also used for an Islamic ritual
involving circumambulating the holy Kaaba. The tawaifs were not just the
greatest epitome of etiquette but were also treated and recognised as
custodians of elite art and cultural practices in history. During the Mughal Era,
they were at the core of art, aesthetics, and local culture and were among the
best-performing artists of the royal court and nobility. They had a respected
place in society and also enjoyed a relatively autonomous lifestyle as they
owned property, controlled their wealth, lived luxurious lives, and were well
versed with literature and politics.
Correlation between Courtesans and Hindustani Classical
Music
Art and aesthetics flourished during the Mughal Period along with patronage of music, dance, and poetry opening opportunities for all the talented artisans. The sources of the courtesan history also give a brief account of how young girls were trained under the guardianship of eminent musicians, dancers, and poets in the Mughal Period. In the Doab region Thumri, Khayal, Dadra, Tappa, and Ghazals were practised by Tawaifs in the court for higher nobility. Begum Samru, Ad Begum, Moran Sarkar, Binodini Dasi, Begum Hazrat Mahal, Gauhar Jaan, Akhtari Bai, Rasoolan Bai and several others held sway over the music scene in the country and took forward the tradition of Hindustani Classical music. These performers excelled in their musical knowledge, composing ragas and more complex constructions, and creating semi-classical arrangements like Chaiti and Kajri.
The Courtesan Project
The Courtesan Project was launched by the Sufi Kathak Foundation in the year 2011. This neo-revival project focuses explicitly on the performing community of tawaifs and the reinstatement of their identity as the original performers of Kathak. Manjari Chaturvedi, performs Darbari Kathak, the dance form that was prevalent among the tawaifs as a part of this project. She shares that this dance form is an alluring and abstract form of kathak, known for its delicate movements and expressions, and characterized by exquisite costumes. ‘Amad’and ‘Mujra’ are kathak dance salutation pieces that were performed by the tawaifs in the court of Awadh. The main motivation of the Courtesan Project is to re-establish the tawaifs as one of the earliest practitioners of the Kathak dance by bringing back their original repertoire. Manjari Chaturvedi shares that Darbari Kathak revolves around themes of ‘love and romance’ while Contemporary Kathak is associated with ‘God and bhakti’. She recreates the dance elements reminiscent of royal gatherings and kothas using kathak manuals, books, paintings, and images from pre-colonial Awadh to reinstate tawaifs as the original performers of Kathak with The Courtesan Project.