The',Home-Coming of Gauharjaan

Total Page:16

File Type:pdf, Size:1020Kb

The',Home-Coming of Gauharjaan " The',home-coming of C "'tJ "'tJ OJ OJ C M- UQ C'" (1) (1) .. -n. Z OJ ~ 0 M- OJ .. GauharJaan '< 0-. BQncrj:e -()\. :J II Meena various genres like khayal. bhajm, thutnti; dadra, -. Kingdom in the pre-electric era of 1902 Why did 00 ghazal etc. She had recorded 600 songs and a few she migrate to Mysore towards the end of her life? ..• ~ GA UHAR Jaan (187)-19301 the s~nningly Tagore songsas welll • zr pretty, feisty, colourful, melodioussoulof the famed To answer these there are .innumerable anecdotes, N (1) The evening climaxed when Poonam Singh read myths and folklores - some of which are recorded; mehfilsof Imperial India came back to her Calcutta 0 out selectpieces from the book.Each word describ- some apocryphal This book traces the story of her J;a Young author Vikram Sampath brought her back to ing the character of the enigmatic enchantress. of -. life through aU these while analysing the soeio-cul- 0 life in his sensitively written book My Name is OJ yore throbbed with its intrinsicemotion It was sheer tural background of the people and culture of that M- Gauhar Jaan! The Life and Times of a (1) Musician that was released at New Delhi in era. The evolution of the recording hi5tory in India and its impact on Indian music. the- April by Mr Hamid Ansari, the Vice atre and social life is also described at great '"3 President of India and launched in length. OJ Bangalore by eminent vocalistPandit Jasraj. :J Rupa & Co, the publishers,brought Gauhar For aU this Vikram Sampath had to do extensive research. In fact, while doing Jaan back home in Kolkata by presenting a wonderfuUy organised book-launch at the research for his first book Splendors of Taj Bengal on 3 May. Royal Mysore: the untold story of the Padmabhushan Vidushi Girija Devi, the WodeyaIS, he stumbled on som!?interesting doyenne of Benaras Gharanas poorab-ang facts about Gauhar Jaan and got hooked. Old Bengali, Hindi and Urdu literature of thumri and Mr Harshvardhan Neotia, whose mother is a disciple of Girija Devi those times, court papers from Kolkata, were invited as the guests of honour but newspaper archives of those days, the memoirs of Gaisberg, the recording engi- they were actually members of the classical gharana Gauhar Jaan belonged to. There neer, and the recollectionsof elders, music- were many renowned musicians and music- loving record collectors helped him to egg lovers present in the audience including on. A serious student of Carnatic classical Pumima Chaudhury, another feted rnem- vocal Vikram finds subjects related to his- tory, arts and culture fascinating though he ber of Benaras gharana, sitar exponent Jaya Biswas magic. This way, having everything in their respec- is an Electronics Engineer, did his Masters in and the son of Bhupendranath Ghosh of·· tive place,holding the fingers of Girija Devi, the vet- Mathematics (BITS Pilani) and also MBA in Pathuriaghata Rajbari who patronised Gauhar Jaan. eran of her gharana, Gauhar Jaan entered the city of Finance and works in a Bangalore-based software Also was present a young thespian dressed-up as joy, made her presence felt throughout the book- company as a Project Manager. Gauhar Jaanl launch function and re-ignited many question like His meticulous research and attention to minutest Her records with three-minute renditions created what compelled Kalkattewali Gauhar Jaan to leave details, therefore, did not come as a surprise. But the desiredambience.Each record ends with her con- her beloved city in the first place? was Calcutta !t nothing comes without a scope for betterment fident and seductive announcement My name is where she mesmerised her fans and opponents alike Girija Devi advised that he should find out more Gauhar Jaan with a high pitched twisting tone while with her regal beauty, captivating persona and mel- carefully about the grooming of Gauhar Jaan in pronouncing Jaan. This amply justified the title of lifluous voice;it was here that she got the opportu- Benaras MusicologistAnindya Banerjee pointed out the book which comes at the price of Rs 595/- with nity that came with the advent of recording tech- that two singers Shashirnukhi and Phanibala had an audio CD that contains selectoriginalsoundtrack .nology and emerged as the first Indian classical recorded their mlliic even before Gauhar Jaan,Paled of ber music which have been recorded over differ- vocalist to record her music with the Gramophone by her charisma all faded out while she continues to ent time-spansof her illustriouscareer and spanning Company that came to India from the United live on!.
Recommended publications
  • Siddheshwari Devi Final Edit Rev 1
    Siddheshwari Devi – The Queen of Thumri1 by Aditi Desai Kashi, Benares or Varanasi; the ancient spiritual centre of Hindustan, famous for its Ganga, its temples and ghats, pandits and pandas, had another more sensual side in its graceful yet throbbing sub-culture of music and dance. There was a time when for every devotee going to a temple to propitiate the gods there was another who, chewing his delicately flavoured paan, 1 Edited, updated and rewritten version based on: Original article written by Aditi Desai for The India Magazine, Aug. 1981, No. 9 would be strolling towards some singer’s or dancer’s house. In the Benares sunset, the sound of temple bells intermingled with the soul stirring sounds of a bhajan, a thumri, a kajri, a chaiti, a hori. And accompanying these were the melodious sounds of the sarangi or flute and the ghunghroos on the beat of the tabla that quickened the heartbeat. So great was the city’s preoccupation with music, that a distinctive style of classical music, rooted in the local folk culture, emerged and was embodied in the Benaras Gharana ( school or a distinctive style of music originating in a family tradition or lineage that can be traced to an instructor or region). A few miles from Benares, there is a village called Torvan, which appears to be like any other Thakur Brahmin village of that region. But there is a difference. This village had a few families belonging to the Gandharva Jati, a group whose traditional occupation was music and its allied arts. Amongst Gandharvas, it was the men who went out to perform while the women stayed behind.
    [Show full text]
  • Social Attitude Towards Theatre Actresses in 19 Century Bengal
    www.ijird.com February, 2016 Vol 5 Issue 3 ISSN 2278 – 0211 (Online) Social Attitude towards Theatre Actresses in 19 th Century Bengal Dr. Sushmita Sengupta Assistant Professor, Department of History, Baruipur College, West Bengal, India Abstract: The 19 th century the ‘age of reasons and reform’ in Bengal saw the question of the theatre actress come to the forefront. With the gradual introduction of the female actress on the stage, they became the figure head on whom the ambivalences and contradictions of the age was manifested. The colonial government had set out to ‘civilize’ the ‘barbaric’ India. The performing artists who had a close association with the courtesan class became the target of the colonizers. Theatre activity was first undertaken by the newly educated Bengali middleclass, who shared the same view of their colonial masters regarding the theatre actresses. The first generation of Bengali actresses remained marginalized in the theatre space. Socially stigmatized and exploited on and off stage, these theatre actresses remained a pawn in the whole set of rules formed by the urban educated middleclass society. Keywords: Reason, reform, theatre, actress, colonial, government, intelligentsia, marginalized. Since time immemorial art and culture has been an inseparable aspect of human life. Art in all its forms has preserved the culture and social system of a particular period or era. The visual arts like “natya” have had a direct contact with the minds of the viewers and the impact of such media on the human mind has been like a photo imprint. So whatever the artist has visually created on the stage has influenced the mind and worked slowly and diligently to change the attitudes and habits of the society.
    [Show full text]
  • Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011)
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2011 Performing Marginal Identities: Understanding the Cultural Significance of awaT 'if and Rudali Through the Language of the Body in South Asian Cinema Lise Danielle Hurlstone Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Hurlstone, Lise Danielle, "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011). Dissertations and Theses. Paper 154. https://doi.org/10.15760/etd.154 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Performing Marginal Identities: Understanding the Cultural Significance of Tawa‟if and Rudali Through the Language of the Body in South Asian Cinema by Lise Danielle Hurlstone A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Thesis Committee: Priya Kapoor, Chair Charlotte Schell Clare Wilkinson-Weber Portland State University ©2011 Abstract This thesis examines the representation of the lives and performances of tawa‟if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture.
    [Show full text]
  • During the Lockdown and Beyond
    June 2020 ON Stagevolume 9 • issue 11 CULTURE AT ALL TIMES During the lockdown and beyond Chairman’s Note he NCPA team, now scattered around dierent locations in Mumbai, T France, the U.K., etc., are hard at work, exchanging ideas via the internet and through the marvels of communication open to us. The aim is to primarily keep all our associates safe, to evolve ever-changing strategies due to the uncertain future we are facing, and to nally encourage our ingenuity to emerge wiser and savvier than when we dealt with normal challenges. NCPA@home is proving popular, but we still have some distance to go to be of the standard we are striving for. Various ideas are being tested to make audiences inside, outside, and at distances experience as far as possible the “real thing”, and the solutions we hope to arrive at will make us a richer and wiser organisation. The plan to reach out to various parts of the city has been welcomed. Our ocial authorities have been helpful and encouraging us to use all means to bring our unique blend of oerings to the public once the right moment arrives. Sadly, our major productions like The Merry Widow are postponed and our income from various activities will be drastically reduced. Our colleagues and sta have risen to the occasion with remarkable co-operation, and we hope all of you will join us in a grand thank-you event at the appropriate time. In the meantime, dear members and our loyal public, do stand shoulder to shoulder with us.
    [Show full text]
  • 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.
    [Show full text]
  • Romance of Gauhar
    Publication: HT~City Page No: 1 Date: May 8, 2010 Headline: Romance of Gauhar Yajnaseni Chakraborty • [email protected] ikram Sampath, a unique combination of Romance of Gauhar V Carnatic vocalist and computer professional, and such peers as Shashimukhi now a certified author, and Phanibala, Gauhar was describes it as an obsession. among the first artistes of With a tawaif(courtesan), the Gramophone Company in what's more. But then, she is India. And Sampath's book no ordinary tawaif. She is describes how the Gramoph- Gauhar Jaan (1873-1930), one one Company's agent Frede- of the earliest female rick Geisberg was delighted Hindustani classical vocalists with her, and how her photo- (as opposed to a nautch girl graph reportedly appeared or a glorified prostitute), who on matchboxes in Austria. made this city her home, At the book launch, though she was originally renowned vocalist Girija Devi from Azamgarh. spoke of how she belonged to Sampath is the author of a the same gharana in Benaras new book on this remarkable as Gauhar, and described her woman, titled My Name is as an inspiration. Gauhar Jaan - The Life and "Gauhar's real achieve- Times of a Musician (Rupa & ment lies in the way she Co, Rs 595, hardcover). In the made Hindustani classical city recently for the book's music accessible to the mass- official launch, Sampath, also es through her huge reper- the author of Splendours of toire," says Sampath. "She Royal Mysore: The Untold In fact, she wasn't born well as her looks, but died in brought the art out of kothas Story of the Wodeyars, says he Gauhar Jaan, but as Eileen relative poverty in Mysore, and liberated women singers stumbled upon Gauhar Jaan's Angelina Yeoward, an broken-hearted and lonely.
    [Show full text]
  • Re-Appropriated Voices in the Poetry of Kathak Dance Repertoire
    The Polish Journal of the Arts and Culture. New Series 4 (2/2016): 47–78 [article] DOI: 10.4467/24506249PJ.16.010.6241 A heroine in the pangs of separation or a soul longing for the divine? Re-appropriated voices in the poetry of kathak dance repertoire Katarzyna Skiba Abstract The paper explores the ambivalent nature of poems that are partand parcel of the kathak dance repertoire in the context of a changing sys- tem of dance patronage during the 19th and 20th centuries in North India. Through a textual analysis of selected ṭhumrī songs, the author investigates the use of śṛṅgāra rasa (erotic sentiment) in this poetic genre in relation to its original, secular function and its interpretation in religious idioms. The comparison of traditional ṭhumrīs with the compositions prevalent on the modern, classical dance stage shall un- derline a shift in the character of kathak performance (from romantic, sensual and intimate to devotional and impersonal). The attempts to locate ṭhumrī in the shastric framework and to ‘purify’ the content of these poems from the imprints of its lineage with tawā’if s culture is examined as part of the process of reinventing kathak in response to the tastes of a new class of patrons and performers and matching this art to the vision of Indian cultural heritage, propagated by nationalists. Keywords: kathak, ṭhumrī, Indian dance revival, nāyikā-bheda, dance Katarzyna Skiba is a Ph.D student at the Jagiellonian University in Krakow. Her main area of research includes: South Asian perform- ing arts, dance anthropology, sociology and postcolonial studies.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’, Mumbai ------ISSN 0971-7942 Volume – Annual: TRN 2008 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume – Annual: TRN 2008 ------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article: Gramophone Celebrities-III 1 ‘The Record News’ - Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1000 Overseas US $ 100 Life Membership Rs. 10000 Overseas US $ 1000 Annual term: July to June Members joining anytime during the year [July-June] pay the full membership fee and get a copy of ‘The Record News’ published in that year. Life members are entitled to receive all the back issues in five bound volumes
    [Show full text]
  • 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.
    [Show full text]
  • International Journal of English and Studies (IJOES)
    SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed Journal ; Volume-3, Issue-7, 2021 www.ijoes.in ISSN: 2581-8333; Impact Factor: 5.421(SJIF) RESEARCH ARTICLE Reclaiming the Elusive Shadaj: Female Vocalists’ Search for a Room in the World of Hindustani Classical Music ____________________________________________________________________________ Rebanta Gupta Postgraduate Student, Department of English, Presidency University (Kolkata) ____________________________________________________________________________ Abstract: Keywords: Hindustani Classical Music, The paper tries to discuss the ingenious khayal, ghazal, tradition, Virginia Woolf, artistic imprints left by the two premier patriarchy. female Hindustani Classical vocalists- Begum Akhtar and Kishori Amonkar, who Introduction: tried to create an ontological space of their In this world dominated by own in the phallocentric musical discourse. patriarchal institutions, females have almost The paper utilizes the concept of an always occupied a secondary position; their alternative literary space for females sagas, voices, and achievements have been expounded by Virginia Woolf in her essay reduced to mere footnotes on the margins of A Room of One’s Own (1929), to analyze history written with the phallic stylus. the efforts made by these two songstresses Female presence in the arts and cultural to create a subjective space of their own in discourses has been considered pernicious, the world of Hindustani Classical Music. as if they are a
    [Show full text]
  • Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows*
    Cracow Indological Studies vol. XVIII (2016) 10.12797/CIS.18.2016.18.04 Katarzyna Skiba [email protected] (Jagiellonian University, Kraków) Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows* SUMMARY: The article deals with the modern history of Kathak, explored from regional perspectives. It focuses on the Lucknow gharānā (“school”) of Kathak, which sprung up mainly in courts and salons of colonial Avadh as a product of Indo- Islamic culture. The paper investigates how the shift of hereditary artists from Lucknow to ­Delhi affected their tradition in newly founded, state-supported institutions. It also examines various trends of further modernization of Kathak in globalized, metropolitan spaces. The tendency of Sanskritization in national dance institutes (Kathak Kendra) is juxtaposed with the preservation of ‘traditional’ form in dance schools of Lucknow (nowadays becoming more provincial locations of Kathak tradition) and innovative / experimental tendencies. The impact of regional culture, economic conditions and cosmopolitanism are regarded as important factors reshaping Kathak art, practice and systems of knowledge transmission. The paper is based on ethnographic fieldwork, combined with historical research, conducted in the period 2014–2015. KEYWORDS: classical Indian dance, Kathak, Lucknow gharānā, Indo-Islamic culture. * Much of the data referred to in this paper comes from the ­interviews with Kathak artists and dance historians which I conducted in India in 2014–2015 as part of two research projects: The Role of Sanskrit Literature in Shaping the Classical Dance Traditions in India (funded by École française d’Extrême-Orient), and Transformation of the Classical Indian Dance Kathak in the Context of Socio-cultural Changes (funded by National Science Center in Poland/NCN on the basis of decision no.
    [Show full text]
  • Inauguration of BEGUM AKHTAR BIRTH CENTENARY
    Ministry of Culture, Government of India Citation: Sangeet Natak Akademi Award (1972) Sangeet Natak Akademi BEGUM AKHTAR Begum Akhtar was born on 7 October 1914 in Faizabad, Uttar MINISTRY OF CULTURE GOVERNMENT OF INDIA Pradesh. She was one of the foremost vocalists of the country. She had her training in Hindustani classical music with Ata Mohammad Khan of the Patiala gharana and Abdul Programme Wahid Khan of the Kirana gharana and made her debut at the Rita Ganguly, Delhi: Vocal age of seven. Accompanists Akhtar Hussain: Tabla Begum Akhtar was well known for her singing of thumri and Ghulam Sabir: Sarangi Ikhlaq Hussain: Harmonium dadra, in which she had combined both the Poorab and the Sushant Sharma: Guitar Punjab styles with a characteristic flavour of her own. Her Shashank Shekhar, Ghaziabad: Vocal rendering of ghazals was of a rare quality. Accompanists Mihir Kumar Natta: Tabla Begum Akhtar had lent her voice to many Hindi films including Ghulam Sabir: Sarangi Roti, Panna Dai, Dana Pani and Ehsaan. She had also acted in Prabhati Mukherjee, Kolkata: Vocal many Hindi films such as Mumtaz Beghum (1934), Jawaani Ka Accompanists Nasha (1935), King for a Day (1933), Ameena (1934), Roop Manas Chakraborty: Tabla Tanaya Bhaduri: Harmonium Kumari (1934),Naseeb Ka Chakkar (1936), and Anaar Bala gedks feVk lds ;s tekus es ne ugha gels t+ekuk [kqn gS] t+ekus ls ge ugha Biplab Roy: Musical Effects Rupa Mukhopadhyay: Tanpura (1940). & ftxj eqjknkcknh For her eminence in the field of music and her contribution to its enrichment, Begum Akhtar received the Padma Shri (1968), the Sangeet Natak Akademi Award (1972), and the Padma Bhushan (posthumously) in 1975.
    [Show full text]