Celebrating the women performers, the ‘Tawaifs’ and the ‘Baijis’, The Pioneer brings to you about The Courtesan Project. In an exclusive chat with the founder, we discuss more in detail about the project.
SHIKHA DUGGAL
Did you know that the highly trained courtesans of Awadh in the 18th and 19th centuries were known as ‘Tawaifs’, the trendsetters of their era? They combined Persian and Indian elements to create the classic Kathak dance and the ethereal dadra and thumri music, raising the bar for style and sophistication. They were not only exceptional artists but also highly regarded conversationalists and etiquette instructors.
Manjari is the creator of The Courtesan Project, an idea that has grown to become one of the most popular dance revival movements in existence today—giving women a voice and acknowledging their centuries-long creative contributions to theater, film, and other performing arts. The Courtesan Project is well-known, adored, and valued all over the world for its distinctive storytelling that brings to light the underappreciated stories of dance and music!
“Let’s say 1999, when I met a ‘Tawaif’ by the name of Zareena Begum,” the founder recounts in an exclusive conversation with us for the special weekly column. “I was a rookie in this field of dancing. The term “Tawaif” among the Kathak community was unfamiliar to me. I recall her putting her hands out in front of me and questioning how I was meant to dance to a song sung by a ‘tawaif’ because I came from a wealthy household. I didn’t understand! I became even more motivated to test this notion we’re discussing after observing the stigma.”
This initiative serves as a platform to educate the public about former courtesans and the detrimental effects that discriminatory practices had on their lives. Through cultural action, they are promoting the much-needed space for them as “artists” in society. The creator goes on, “I also manage a foundation where I provide medical and financial support to our community’s elderly musicians. I began my investigation into the music connected to ‘Tawaifs’ without considering any stigmas at this point. I discovered that they had to sing from the doorway and were never permitted into the affluent homes. Why was this, I wondered? This social order is terrible.”
Thus, the founder felt it was imperative that she share Tawaif’s inspiring tales with the world and showcase their artwork. This relates to gender in the arts and how the performer’s gender influences the work going forward! The enigmatic dancers known as Tawaif and Nachnewali are not included in the history of performing arts documentation, while their male counterparts are named “Ustads” and the amazing women are simply called “Nautch Girls”.
Additionally, she recalled asking the tawaifs’ sponsors, “I was told straight out that Sufi has a strong brand, so why would you want to work with the tawaifs? It provided me with yet another perspective on the project I was working on. We were not sponsored! However, I have a strong sense of stubbornness, so I went ahead and paid for the concert myself. However, I first gave a two-hour session to get people talking about Tawaif culture. “Tawaif” isn’t a terrible word, in my opinion! In their faces, the cultural minister consented to attend.” These women were the first to perform as women in the major Hindi film industry after moving from Kotha to become a part of the Parsi theatre. The accounts of women who sang for India’s independence have been lost to history; we can only trace these accounts, and their artistic contributions are mainly still unacknowledged! Their art is highlighted by this endeavour now. Bravo!
“I must admit that, despite what I was told, the media solely seeks financial benefit. This was disproven when 32 prominent newspapers covered the ‘tawaif’ without the support of sponsors! I was unable to even send out formal invitations as we do now, so I invited everyone—including the ministers—by writing simple letters. The ‘tawaif’ asked, ‘Log humse abhi bhi mohabbat karte hai?’ (People still love us?) as she broke down in tears. There, my project won! I obstinately became more involved in this project moving forward,” continues Manjari Chaturvedi. The founder has taken her passion for classical dance and transformed it into something more than just a means of expression. Under her direction, it is a kind of narrative form, as well as a cultural rebirth. The Courtesan Project, aims at documenting the historically extraordinary role of the ‘Tawaif’ in artistic life—as muse to poets and painters, writers and kings, musicians and leaders—and is the most evocative example of this. By doing this, she aims to restore the respect that these denigrated women deserve for their education and performance art, their wit and intelligence, their creativity, and their unadulterated sexual might.
Her personal experiences provided more insightful commentary. “I could sense how only sniggering conversations were held about the ‘tawaifs’ in the drawing rooms,” she said. “They were never discussed in a serious manner! The level of academic interest does increase when you do seminars. Even the word “Tawaif” was forbidden to be used in the lectures! I was astonished to hear that some institute staff members referred to the dancing performances as “Mujras”! Observe the irony; the same institute was the scene of Mughal-e-Azam.” So, she offered the younger generation a different perspective on the talented female artists who, up until now, have only been the subject of disparaging remarks that may have been heavily influenced by Bollywood.
“I was addressing prejudices. Bollywood is to blame for the incorrect portrayal of ‘tawaifs’ in society. I began talking about dance and how it’s associated with ‘tawaifs’. Students began learning more about this culture as a result of the courtesan project. They even wrote a departmental book on them locally! The interest that authors and PhD candidates began to show in them for books or research papers was another way that the project had an impact. I won’t name them, but a huge filmmaker is filming a picture about them; his writers sat down while I was in seminar. A movie on ‘tawaifs’ would never have attracted anyone’s attention ten years ago. What unexpectedly occurred? It’s my project’s impact! Even the one that was produced was a complete failure! My concert served as inspiration for Bombay Begums as well. However, since these movies would stop at nothing to get money, I’m not concerned about them.”
There have been hundreds of concerts, including Manjari Chaturvedi’s performance art of the ‘tawaifs’, four significant seminars, three Tedx speeches, and several other talks and lectures under the umbrella of The Courtesan Project series. Many historical walks have been inspired by the ‘tawaifs’, and the majority of singers and dancers currently use the ‘tawaifs’ art form in their performances. The ‘tawaifs’ are in style, and there are countless Instagram reels of them. This is the direct outcome of the last 14 years’ worth of work that has led to a cultural rebirth. The contemporary classical dancer who aspires to be recognised among the singers and dancers of the past is challenging society’s expectations of individuals and how the past has viewed female stage artists. She is making a bold statement by titling her event Main Tawaif, and that is admirable, and only a strong performer like her can transcend the existing narrative and craft a new one from the perspective of women. This is necessary to finally recognise the tawaif’s performance art, to go past the jeers and drawing room giggles that come with the word ‘tawaif’, and to finally recognise their place in the annals of performance art history! Manjari herself had to wait for ten long years to use the name ‘tawaif’ in a classical concert without facing backlash. A contemporary classical dancer who is at last hoping to provide the performers and vocalists of the past some recognition. She is challenging stereotypes!
