Lucknow, the city of culture, art and poetry, the glory is not just confined; the city had Tawayafs as well. Tawayaf and glory? It’s contradicting, right? Something that has always been criticized and considered as social stigma can never be glorified. That’s our attitude toward this beautiful but miss-represented Tawayaf culture. Generally, when we talk about something we read about that first, but this is one thing we have never read about all we discuss is something we have heard, or watched in distorting movies and this Social Chinese whisper has made it taboo and suspicious. And so, the beautiful and glorified chapter of the culture remained untouched, unbelieved, unread.
The attitude towards ‘Tawayaf ‘ has been miss-conceptual and prejudiced. History miss-figured Tawayafs in such a way that till now our society has never been able to accept them, and they continued to be a social stigma. Their existence was confined up till red light areas. Un-aware of the reality we kept on frowning at this particular section ignoring the light of fact. Hindi movies of the 60s-80s may have partly been responsible for this degradation of usage, through their representation of jilted lovers and men alike seeking solace in the kothas, legendary houses of ill-repute, to be entertained by the erotic mujras of tawaifs. We were convinced with how they were portrayed and so we never understood Who Were Tawayaf? Before we jump on to any conclusion let’s just check out the etymology of the word ‘ Tawayaf’
The word ‘ Tawayaf’ comes from an Arabic word ‘Tawaf’ which means to move around and the plural meaning is a group of dancing girl (again, just dancing).
The book of Lakshmi Subramanyam, ‘Cultural Behavior’ explains, “Tawayaf is understood by most of people to mean an ordinary prostitute. Popular films have re-enforced this notion in the way in which they have been represented”
Actually, we kept on frowning them without understanding that there is a fine line of difference between a Tawayafs and a Prostitute. A Tawayaf sells her art and prostitute sells her body. We were continuously failed to understand the difference and the myth has forced us to stay skeptical about this cult.
Popular memory of the tawaif is based on Mirza Ruswa’s novel, Umrao Jan, the story of the quintessential tawaif in nineteenth century LucknowTawayafs who were prominent part of Lucknawi culture were far better than these day’s models. In any of the book where you see their authentic pictures or in any movie depicting them, either it is Umrao-Jaan or Pakeezah, never at a single point you will see them in revealing attire or questionable dresses, unlike ‘respected’ models of these days who perform on illicit dance numbers like ‘Sheela’ and government awards them by Rajiv Gandhi Award. So called actresses of conventional cinema doesn’t know anything better than displaying their body, however the Tawayafs had always been graceful and artistic, with strong skills over language and literature, good in writing poetries and indulge in the decent style of Avadh which never went across Aap-Janaab. Many of us don’t know that young Nawabs were sent to these “Tawayafs” to learn “Tameez” and “Tehzeeb” which includes the ability to differentiate and appreciate good music and literature, perhaps even practice it, especially the art of ghazal writing.
Moreover, though the prominence of Tawayafs was less obvious after the British annexed Lucknow in 1856, but their role in India’s first war of Independence is on papers. In the civic tax ledgers of 1858-77, kept in the record room of the Lucknow Municipal Corporation, Tawayafs were classed under the occupational category of “Singing and Dancing Girls,” and were noted in the highest tax bracket. We also overlook the fact of Tawayafs who were active protagonist of Indian Rebellion of 1857.During Indian Mutiny Mujra performances provided an opportunity for mutineers to meet and many Tawayaf were also actively involved in the movement which resulted, many Kothas confiscated by the British. But we will never consider that, because it was Kotha, a place for Mujraa, so what if it ignited the spark of revolution among Indians.
Now let’s come to ‘Mujraa’, which is another taboo word for current orthodox and confused society, who failed to dig the reality and never accepted it as the national heritage. Mujra comes from a Urdu word ‘Muzahira’ means ‘Show’. Since the Mughal period till late 18th century, art was on its peak. As we know Mughals as the art lovers, from Shahjahan to Bahadur Shah Zafar who was a poet too. Mujra was the single way to amuse dance lovers with the well written THUMRI and GHAZAL, the eminent part of North Indian culture. Dance form in Mura was learned and practiced authentic Kathak. We need to understand the fact, in the light of study material available in multitudes of libraries of Lucknow that explain that Mujraa as a well-organized show for dance and Ghazal lovers, and that is all. We tend to overlook the books like ‘The Making of Colonial Lucknow by veteran historian Veena Talwar which observes, “To relate Tawayafs to prostitution is an extremely corrupt portrayal of the institution”. The falling civic standard has led human mind of current to have his own unreal assumptions.
Chote Miyan, one of the heirs to a Kotha in Chowk, the old market of Nawabi Lucknow rues, “Tawayafs were treated as the epitome of etiquette and culture. They were the guardians of north Indian music and dance, and hobnobbed with the nobility. Today, the Tawayafs are virtually gone. The word has been redefined and applies to a common prostitute now.”
The redefinition has turned the things upside-down, a section of the society with the glorious past has been tagged now with the label of shame, ignoring its contribution in art, literature and even in culture. Perhaps, this is really tough to change pre-conceive social notion about Tawayafs now, because whatever was said, has been believed. But we need to acknowledge the fact in the light of available related content that Tawayafs were not some spot on our society they were something we can proud about. However, the melancholic truth is that the word Tawayaf couldn’t explore its real meaning other than a social abuse.
Writer Jamshed Soddiqui is a journalist and work as an editor of Aaina Times, New Delhi.
