By Farnaz Fatima
My first introduction to Gauhar Jaan was during a dance recital that I had attended in New Delhi back in 2019. The performance was a mesmerising portrayal of the lives of renowned courtesans, with Gauhar Jaan being one among these many fascinating women. Beyond the story of her illustrious journey and undeniable talent, one particular anecdote about her caught my attention and made me more interested in knowing about the woman she was.
The story revolved around Gauhar Jaan’s extravagant celebration, where she reportedly spent a substantial sum – close to 20,000 rupees – on a daawat (feast) when her cat gave birth to a litter. There was another story about how she threw a celebration to get one of her cats married. As a self-proclaimed cat person, this charming and unexpected detail immediately drew me closer to her narrative. The image of a woman in the 20th century unapologetically indulging in what she loved, leading a lavish life, earning her own income, and splurging it on the things that brought her joy was fascinating to me. I wanted to find out more about who she was. And so began my interest.
Gauhar Jaan’s early life was one filled with many cultural experiences. She was born as Eileen Angelina Howard, to an Englishman and an Anglo-Indian woman. Her parents separated when she was six. Her mother accepted Islam as her faith, shifted base to Benaras and took on the title of Badi Malka Jaan. The little girl became Gauhar Jaan. In Benaras, Gauhar Jaan had her first exposure to the world of poetry, music, and dance, a foundation that would later be polished in a city destined to become the edifice of her identity as Gauhar Jaan ‘Kalkattewali’ (belonging to Calcutta). This city, acting as a cultural magnet for artists from across North India after Nawab Wajid Ali Shah’s exile, welcomed Gauhar Jaan and her mother into its artistic milieu. Within the court of Nawab Wajid Ali Shah at Metiabruz, their musical talents found patronage among royals and aristocrats, propelling them to newfound fame.
When The Gramophone and Typewriter Limited sent their recording engineer William Fredrick Gaisberg to India to find artists for their new sound recording in 1902, it was only natural that the infamous Gauhar Jaan was asked. Gauhar Jaan, quick to adapt, efficiently condensed full-length compositions into the newly introduced three to four-minute disc format. Each of her recorded performances concluded with the signature line ‘My name is Gauhar Jaan.’ In recorded documents, Gaisberg fondly recalled her penchant for elaborate gowns and unique jewels, which she never ever repeated, and how she captivated audiences not only with her music but also with these flamboyant choices.
Throughout her remarkable career, Gauhar Jaan recorded an impressive discography of nearly 600 records spanning over 10 languages. These languages included Bengali, Hindustani, Gujarati, Tamil, Marathi, Arabic, Persian, Pushto, French, and English. Her musical repertoire was expansive and included genres like khayal, thumri, dadra, kajri, hori, tarana and bhajan. Such was her talent that she used to receive anywhere between Rs. 1,000 and Rs. 3,000 for her performances, which was a huge amount in those days.
Gauhar Jaan, with her flair for bold statements, frequently went for rides near Eden Gardens in her six-horse carriage. In those times, there was a Rs. 1,000 fine for commoners for using carriages as it was reserved for the British and Indian Royalty. Unfazed by the penalty, Gauhar Jaan continued to pay the fine and assert her independence by persisting in her carriage rides. In yet another instance, she insisted on a dedicated train to Datia where she was invited to perform. She arrived with her complete entourage of khansamas, a personal hakeem, washerman, barber, and numerous servants, all travelling together with her.
In an era where societal norms, especially for women, were restrictive, Gauhar Jaan navigated a path for herself. She inherently embodied feminist principles through her choices and actions. In an age where the term might not have been widely recognized, she did things that reflected modern feminist values – asserting her worth, earning her own income, and demanding the recognition she rightfully deserved. Her resilience and defiance of societal expectations positions her as an unsung feminist icon of the 20th century. For me, her story serves as an inspiration and a reminder that even in eras without explicit feminist discourses, women like her paved the way for empowerment, strength, resilience, and unwavering self-determination.
History, regrettably, has been unjust to Gauhar Jaan and countless women of her era, overlooking their substantial contributions to the world of music and failing to accord them the respect they genuinely deserve. Gauhar Jaan, a trailblazer in Indian classical music, faced the double burden of being a woman and a ‘tawaif’, resulting in her story often being marginalised or omitted from our historical narratives. The enduring bias of the time against women in the arts has led to an unfortunate neglect of her role in shaping the trajectory of Indian music – of being the first commercially recorded artist of India.
It is also imperative to note that there were countless other talented artists who faced societal prejudices that obscured their exceptional contributions. Zohrabai Agrewali and Janki Bai Ilahabadi, accomplished artists in their own right, stand as glorious examples. Despite their extraordinary musical abilities, these women, like Gauhar Jaan, were often relegated to the sidelines due to prevailing societal biases against their profession.
In uncovering the layers of Gauhar Jaan’s life, I found not just an extraordinary artist but a ferocious spirit, a woman singing and dancing to her own rhythm. Through her journey, we can celebrate the enduring spirit of those who dared to live life on their own terms. It is high time that we reevaluate and rectify this historical oversight, giving due respect and acknowledgment to women who defied societal constraints. By embracing and celebrating their legacies, we collectively participate in rewriting history, ensuring that women like Gauhar Jaan rightfully claim their place in the cultural heritage of our shared past.
Bio:
Farnaz Fatima has a postgraduate degree in Politics and International Studies. Currently working in the world of advertising, she is interested in exploring the intersections of gender, mental health and popular culture through her writing.
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