Anti-Vice Lives
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The Ethnographic [Feministic-Legal] Comparative Study on Life Style of Female Prostitutes in the Historic and Contemporary India Having Reference to Their Status
INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN: 2456-6683 Volume - 2, Issue - 2, Feb – 2018 UGC Approved Monthly, Peer-Reviewed, Refereed, Indexed Journal Impact Factor: 3.449 Publication Date: 28/02/2018 The Ethnographic [Feministic-Legal] Comparative Study on Life Style of Female Prostitutes In The Historic And Contemporary India Having Reference To Their Status B.Leelesh Sundaram 2nd year B.B.A, LL.B (hons), Saveetha School of Law, Saveetha University. Email - [email protected] Abstract: The nature has bestowed the beautiful capacity of bringing life into the world within women. Women are globally perceived as the purest form of beings in the world. India being a part of south Asian continent has given spiritual and ethnical importance to women at high extent, but this concept is hindered by the practice of prostitution. India is identified as one of the greatest centres of illegal prostitution practice in the contemporary society. The practice of prostitution in India is a part of the society from time in memorial and literature helps us understand the situation of prostitutes in Indian history. Though there has been a number of research and discussion done on prostitution in India, an ambiguity still prevail with respect to life style of female prostitutes in India by ethnographically comparing it with their lifestyle in historic owing special attention to their status. This research aims to study the extent of prostitution in India and compare the life style of prostitute in historic and contemporary India. The paper tries to analyze the status of prostitutes in historic and contemporary India and also find out the reaction towards prostitution in Contemporary and Historic India. -
A History of Legal and Moral Regulation of Temple Dance in India
Naveiñ Reet: Nordic Journal of Law and Social Research (NNJLSR) No.6 2015, pp. 131-148 Dancing Through Laws: A History of Legal and Moral Regulation of Temple Dance in India Stine Simonsen Puri Introduction In 1947, in the state of Tamil Nadu in South India, an Act was passed, “The Tamil Nadu Devadasis (Prevention of Dedication) Act,” which among other things banned the dancing of women in front of Hindu temples. The Act was to target prostitution among the so-called devadasis that were working as performers within and beyond Hindu temples, and who, according to custom also were ritually married or dedicated to temple gods. The Act was the culmination of decades of public and legal debates centred on devadasis, who had come to symbolize what was considered a degenerated position of women within Hindu society. Concurrent with this debate, the dance of the devadasis which had developed through centuries was revived and reconfigured among the Indian upper class; and eventually declared one of Indian national dances, called bharatanatyam (which can translate as Indian dance). Today, while parts of the devadasi tradition have been banned, bharatanatyam is a popular activity for young girls and women among the urban middle and upper classes in all parts of India. The aim of this article is to examine moral boundaries tied to the female moving body in India. I do so by looking into the ways in which the regulation of a certain kind of dancers has framed the moral boundaries for contemporary young bharatanatyam dancers. A focus on legal and moral interventions in dance highlights the contested role of the female body in terms of gender roles, religious ideology, and moral economy. -
Courtesans in Colonial India Representations of British Power Through Understandings of Nautch-Girls, Devadasis, Tawa’Ifs, and Sex-Work, C
Courtesans in Colonial India Representations of British Power through Understandings of Nautch-Girls, Devadasis, Tawa’ifs, and Sex-Work, c. 1750-1883 by Grace E. S. Howard A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in History Guelph, Ontario, Canada © Grace E. S. Howard, May, 2019 ABSTRACT COURTESANS IN COLONIAL INDIA REPRESENTATIONS OF BRITISH POWER THROUGH UNDERSTANDINGS OF NAUTCH-GIRLS, DEVADASIS, TAWA’IF, AND SEX-WORK, C. 1750-1883 Grace E. S. Howard Advisors: University of Guelph Dr. Jesse Palsetia Dr. Norman Smith Dr. Kevin James British representations of courtesans, or nautch-girls, is an emerging area of study in relation to the impact of British imperialism on constructions of Indian womanhood. The nautch was a form of dance and entertainment, performed by courtesans, that originated in early Indian civilizations and was connected to various Hindu temples. Nautch performances and courtesans were a feature of early British experiences of India and, therefore, influenced British gendered representations of Indian women. My research explores the shifts in British perceptions of Indian women, and the impact this had on imperial discourses, from the mid-eighteenth through the late nineteenth centuries. Over the course of the colonial period examined in this research, the British increasingly imported their own social values and beliefs into India. British constructions of gender, ethnicity, and class in India altered ideas and ideals concerning appropriate behaviour, sexuality, sexual availability, and sex-specific gender roles in the subcontinent. This thesis explores the production of British lifestyles and imperial culture in India and the ways in which this influenced their representation of courtesans. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Dr. Muthulakshmi Reddy, the Devadasis, and the Events That Shaped Post-Colonial Bharatanatyam
International Journal of Scientific & Engineering Research Volume 9, Issue 4, April-2018 774 ISSN 2229-5518 Dr. Muthulakshmi Reddy, the Devadasis, and the Events that shaped Post-Colonial Bharatanatyam. Bindu S. Rao Abstract — Dr. Muthulakshmi Reddy plays a very important role in the way Bharatanatyam was perceived post-independence, especially by many noted historians, columnists, researchers, academicians, and the general media responsible for bringing out everything about the re-christening of Bharatanatyam. Pre-Independence, dancing in private parties had become a form of entertainment, that most reformist had raised their voice against. Though this was not rampant, and almost exists even today in many ways, yet, temple dance tradition was getting maligned from the involvement of some devadasis due to their vulnerable background, and the control their patrons had over them. Temple dancing tradition, Private Nautch, devadasis, Bharatanatyam, Court dance, was a hotchpotch of misunderstood terminologies seemingly resembling and connecting each other, that would eventually lead to a mystery that remains unsolved even in the post- independence era for Bharatanatyam, and would worsen in the millennium era with many writers and researchers taking past references to create their own stories and interpretations. Dr. Muthulakshmi Reddy’s noble work of devadasi rehabilitation through devadasi abolition bill was misinterpreted by many, and opposed for being against the devadasis and their dance tradition. Dr. Muthulakshmi Reddy went ahead with her noble work of rehabilitation of vulnerable devadasis, and devoted her entire life for it. It was she, who removed the weeds and enabled Bharatanatyam to flourish, by being instrumental in banning the dedication of devadasis to the temples. -
Prostitution and the Politics of Sex Trafficking in British India, 1917-1939
A Colonial Haunting: Prostitution and the Politics of Sex Trafficking in British India, 1917-1939 by SANDY CHANG B.A., The University of British Columbia, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2012 © Sandy Chang, 2012 Abstract Following the murder of a Bombay prostitute in 1917, the Government of India launched a series of investigations and commissions of inquiry in order to determine the scope of prostitution and extent of sex trafficking across British India. Between 1917 and 1939, these colonial projects produced a vast archive of ethnographic and statistical information about those women whose lives were intricately tied to brothels in the Indian subcontinent. In this paper, I examine the politics behind these projects of knowledge production and the colonial desire to make these women “known.” By situating this colonial history within the international climate of the interwar period – a time when the legitimacy of the British Empire was increasingly challenged by Indian nationalists and subject to scrutiny by the League of Nations – this study argues that colonial administrators appropriated the highly publicized death of an Indian prostitute to elicit emotions of shock and pity and in turn, preserve the ideological legitimacy of “enlightened” British rule by fashioning themselves as “modernizers of indigenous patriarchy” in India. The death of the prostitute, much like the controversy around sati and child marriage in the nineteenth century, became a metonym for the social ills of India which justified colonial intervention as a form of benevolent paternalism. -
Nautch’ to the Star-Status of Muslim Women of Hindustani Cinema
Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-7, 2016 ISSN: 2454-1362, http://www.onlinejournal.in A Journey from the Colonial Stigma of ‘Nautch’ To the Star-Status of Muslim Women of Hindustani Cinema Ayesha Arfeen Research Scholar, CSSS/SSS, J.N.U, New Delhi Abstract : This paper tries to explore and indulge Pran Nevile maintains that while the Mughal India into the debate of how the yesteryears tawaifs were saw the advent of the nautch girl on the cultural reduced to mere prostitutes and hence the stigma landscape of the country and her rise to the pinnacle of glory, the annexation by the British of attached to them in the colonial period and how Awadh (1856) in the north and Tanjore (1855) in with the post-colonial period, the stigma is erased the south - the two dominant centres of Indian art by the rising to fame of Muslim actresses of and culture - foreshadowed her decline and fall. Hindustani film industry. This paper turns out to be Pran Nevile, who himself hails from India (British a comparative study of the ‘nautch’ girls as India) surprises me when he uses the term ‘nautch’ portrayed by the British and their downfall on one in the above statement, for the larger than life hand; and the Muslim doyens of Hindustani cinema ‘tawaifs’ of North India. as stars on the other. The tawaifs were professional women performing artists who functioned between the nineteenth and Keywords: Muslim Women, Star Status, Muslim early twentieth century in north India. The word Actresses, Stardom, Hindustani Cinema, Film ‘tawaif’ is believed to have come from the Persian Stars, Nautch, Tawaif tawaif of circumambulation of the kaaba and refers to her movement around the mehfil space, the circle INTRODUCTION. -
Should Prostitution Be Legalized? Deepen Upadhyaya, National
Should Prostitution Be Legalized? Deepen Upadhyaya, National Institute of Mass Communication & Journalism, India The Asian Conference on the Social Sciences 2014 Official Conference Proceedings 0510 Abstract The subject of my research paper is “Should prostitution be legalized?” it is written with context of old Indian culture and the phase of changes in society. Where at one point of time just like the cast system even the profession of sex workers was socially accepted and respectable! But gradually due to the change of time and cultural diversities, this profession and people in it became socially out casted. I have tried to show the kind of treatment given to this segment of society and also given history of its beginning to its current state. Based on various reference book and history of India from Ancient to modern time is given for the same. Along with history of Indian civilization where in different stages, with different monarch, and different society with religious changes of that time, I have tried to cover the account of same profession of sex workers in concurrent society of other countries like Europe, Turkey and USA. This is to show a comparative study of Sex workers. By writing this research paper my initiation is to show the conflict of a segment of society who is rejected by the advent of time, which is now ill-treated and exploited by the underworld and by society itself. What preventive measures can be taken to give them social, political and professional right with security; most importantly acceptance in the society of today’s times. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr. -
Kathak's Marginalized Courtesan Tradition the I
Varma 1 Tulika Varma English 184 Prof. Mott 3/22/18 Sensuality and Syncretism: Kathak’s Marginalized Courtesan Tradition The Indian classical dance form known today as Kathak is practiced widely across the subcontinent and the South Asian diaspora. A vibrant, entertaining dance, it has taken many shapes and forms across different stages and spaces. This paper is primarily interested in historicizing the form and exploring how the process was closely managed by Indian nationalism and British Anglicism. I draw on Margaret Walker’s historicization of Kathak in her book India’s Kathak Dance in Historical Perspective and Pallabi Chakravorty’s invaluable Marxist anthropological study of Kathak in Bells of Change: Kathak Dance, Women and Modernity in India to investigate the different genealogies of the form and which histories were preserved during the nationalist reconstruction of “Indian culture” in the 19th century. I explore Kathak’s rich syncretic, philosophical history – specifically the tawaif (courtesan) tradition and its subsequent marginalization, and show how despite concerted efforts to purge this tradition from the “official” history of Kathak, it lingers in the choreographic vocabulary of contemporary practitioners. I then outline the different relationships that these practitioners have with the tawaif tradition, and map how theories and experiences of sensuality and embodiment have shifted through the rise of Indian nationalism as well as contemporary efforts to “reclaim” or excavate the tawaif tradition. However, before elaborating more on this project, it is important to give a brief outline of Kathak as it is known and performed today – the cadences of the movements and gestures and Varma 2 the general repertoire. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Shweta Saraswat 2019 © Copyright by Shweta Saraswat 2019 ABSTRACT OF THE DISSERTATION Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles by Shweta Saraswat Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2019 Professor Anurima Banerji, Chair This dissertation focuses on the role of the classical Indian dance form Kathak in negotiating questions of cultural identity and national affiliation among members of the Indian diaspora residing in London, UK, and Los Angeles, USA. This study considers how institutional actions and discourses related to the practice of Kathak dance in these two cities and the personal experiences of dancers themselves reflect certain political, aesthetic, and social values that impact the formation of diasporic identity. The dissertation argues that Indian diasporic subjects negotiate a fundamental tension through their practice of Kathak dance: the tension between Kathak’s inherent flexibility and contextual conditions of fixity. ii As described in Chapter 1, Kathak’s inherent flexibility refers to certain foundational elements of the dance that center around creative interpretation, improvisation, and immersive practice (riyaaz), as well as the expression of multiple identities that these foundational elements enable. A discourse of Kathak’s flexibility frames the dancer’s transcendence and/or transformation of socially assigned identifications as an act of aesthetic virtuosity with cross- cultural significance. -
A STUDY of SOUTH ASIAN BAR DANCERS by NAIRRUTI JANI Presen
EXPLORING VULNERABILITY AND CONSENT TO TRAFFICKING RELATED MIGRATION: A STUDY OF SOUTH ASIAN BAR DANCERS by NAIRRUTI JANI Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON December 2009 Copyright © by Nairruti Jani 2009 All Rights Reserved ACKNOWLEDGEMENTS I acknowledge the participants who shared their life stories with me. If it was not for those tears hidden behind the smiling faces of bar dancers, I would not have a reason to conduct this research. I cannot thank you enough but can certainly admire your selfless sacrifices. I could not have achieved this in isolation. This dissertation was possible only because of the support and love I had from everyone who I would like to thank at this point. My husband who stood by me at every step of this research including my overnight visits at dance bars. My mum and dad for being by my side and teaching me the values I believe in. I thank my brother and uncle for their patience and belief in the long process of Ph.D. program. I would also like to thank my mother in law who encouraged me to conduct this research. I have another family as close to me that helped me at several stages of this research. I sincerely thank my chair Dr. Scannapieco for everything she has done to help me complete this dissertation. Thank you so much for believing in me. I thank Dr.