She was ordinary looking but had a pleasant form. What made her special was the buzz surrounding her! Ladies were throwing scrutinizing glances at her while gents were checking her out through the corner of their eyes. Old ladies were chatting about beautiful baijis (another name for nautch girl) of their time. The arrival of the nautch girl had made the calm village a little noisy. She was considered a public woman, a fallen woman and everyone wanted to have a good look at her. But for me, she was exotic!
One of my relatives chided me for peeping at her. “She is not a good lady. Stay away from her. She is a nachaniya (another name for nautch girl). She dances and entertains the male crowd. Nice girls never go near her.” Her words made me all the more curious. And throughout the day, I kept a watch over the dancer through the window.
In the evening, I saw her washing her face and getting ready for the dance. We heard that groom and the baraat (group) had been received and were resting in the tents. I couldn’t wait to see her dance.
Well, at the auspicious time, the groom arrived with pomp and splendour. The nautch girl began to perform a welcome dance in front of the group. She had whiten her face, stained her teeth with betel and put on a lot of make up. Under bright lights, she looked younger than she actually was. The ladies watched the welcoming of the groom from the terrace while gents stood around her in a circle. Some young baraatis threw money at her which she pocketed fliratatiously.
It was later in life that I learnt more about the likes of her. I had almost forgotten about my exotic nautch girl when I came across this quote by James Forbes (Oriental Memoirs 1813)-
“Nautch girls are extremely delicate in their person, soft and regular in their features, with a form of perfect symmetry, and although dedicated from infancy to this profession, they in general preserve a decency and modesty in their demeanor, which is more likely to allure than the shameless effrontery of similar characters in other countries.”
I learnt that possibly my nautch girl was a crude and jaded version of the former nautch girls, who were superior in art and bearing. With time, during family functions, nautch girls got replaced by choreographed dancers. And now we have DJs playing songs at every wedding.
Earlier, they were a prominent part of Indian life and culture during the second half of the 19th and first half of the 20th centuries. They were mostly teenage girls, who typically performed in Mughal courts, the palaces of nawabs, the mahals of rajas, the bungalows of officers of the British Raj, the houses of zamindars as well as at ordinary homes wherever they were invited. Sometimes they arrived with their troupe without any invitation to a celebration and patrons were expected to pay them. They would break into an impromptu dance whenever situation demanded.
It should be kept in mind that they were not into flesh trade and their husbands accompanied them as one of the musicians. Their dance forms were an amalgam of prevalent dance forms of India at that time.
As royalty faded, the tradition of nautch lost its lustre. Some of them joined films and theatre. They have been widely portrayed in films too. The prominent ones among them were Shashimukhi from Chitpur and Phanibala. Shashimukhi was the first recorded artist of India. She went on to become the tragedy queen of Bengal theatre.
Further on, nautch girls lost their dignity and came to be seen primarily as sex workers. That is why my concerned relative had admonished me – “Nice girls never go near them”.
I do not know whether the nautch forms are still alive in some corner of India or not but I cannot help remembering that particular nautch girl, who had looked so divine to me! I had followed her almost like a fan adores a film star. I had enjoyed her playfulness and dance moves. I did not know then that I was witnessing a fading tradition…
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