In North India nauch (//) is one of several styles of popular dance, performed by girls known as Nautch girls. The word Nautch is an anglicized version of nāc, a word found in several languages of North India including Hindi and Urdu, derived from the Sanskrit, nāṭya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is "dance" or "dancing".
The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the British East India Company Rule. Over time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.
Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform ritual and religious dances in the Hindu temples of India. However, there is not much similarity between the Devadasis and the Nautch girls. The former performed dances, mostly Indian classical dances, including the ritual dances, in the precincts of the Hindu temples to please the temple deities, whereas the Nautch girls performed Nautches for the pleasure of men. In 1917, attributing the adjective to a woman in India would suggest her entrancing skill, tempting style and alluring costume could mesmerize men to absolute obedience.
Earlier, devotional dances were performed in the temples by the devdasi for spiritual reasons only. During the mughal era, dance for entertainment became popular, and many rulers took dance girls in their entourages even at their battle-camps. The early British settlers in India were often given tawaifs as welcome gifts or rewards. In 18th century, young princes were sent to nautch girls to learn "tehzeeb" (elegance) and culture.
During the Mughal era and British raj, nautch girls regularly performed at durbars. Nautch girls were also invited to perform on the special events of the native Indians where guests congregated in a separate performance hall, nautch girls sat with the nautch party, composed of attendant musicians and two or more nautch girls, whose numbers vary depending on the status of the host.
Hindi women in general are finely shaped, gentle in their manners, and have something soft and even musical in their voices. An exceedingly graceful dance of the Natch girls is called the “Kite dance.” The air is slow and expressive, and the dancers imitate in their gestures the movements of a person flying the kite.
Nautch, performed only by the girls, evolved into several styles, three of which were most essential, the "mor nach" (the dance of peacock to attract peahens), "patang nach" (the kite dance imitating both the kite and the kite flier) and "qahar ka nach" (the palki pallbearer’s dance, erotic and suggestive dance performed as finale) were popular types of dance.
Jealousy and love are hardly ever better portrayed than by the dark flashing eyes, and unrestrained passion, of an Indian natch girl. Very few English admire this exhibition on the first representation, but by repetition it ceases to disgust, and at length, in many cases, comes to form the chief enjoyment of life. It is a fact, however, that whenever this fatal taste is acquired, the moral being of the man becomes more and more enervated, until its healthier European characteristics that are lost in the voluptuous indolence that enthrals the generality of the western Asiatics.— The English in India, and other sketches, by a traveller (1835)
Regional variations of nautchEdit
The "zamindari natch" (feudal dance) patronised by the Zamindar of Baghmundi was known as Araiha, in which two or four nautch girls and two jhumar singers in company of about 20 male dancers took part in the singing and dancing. Part of the songs were repeated by the dancing girls and by the male dancers, and the nautch girls formed a line or a circle to perform a dance similar to the fox-trot as two or three sang, and they repeated the refrain.
The "Nautch" girls performed in small troupes called the "nautch parties", which consisted of just one or two people to 10 or more, including dancers and singer, and their husbands often played the role of musicians and handlers.
A nautch girl is not a Domni (hereditary female singer), Kasbi (a female belonging to family which practices hereditary sex trade), Randi (first generation prostitute), Tawaif (elegant and cultured female master of arts, including singing and dancing), Kanjari (low-class uncultured Tawaif), Nochi (young girl trainee under a tawaaif) or Devdasi (temple dancer devoted to the practice of spiritual dancing); she belongs to her own distinctive class.
A nautch girl is a dancer who makes a living by entertaining men, women and children of all social classes, regions, castes and religions on various occasions including parties, weddings, christenings, religious ceremonies, and other social events. Their dances were simplified combination of kathak, dasi attam and folk dance. Wandering troops of nautch girls often traveled to different places, performed impromptu roadside dance performances or just turned up uninvited to perform at the homes of their richer patrons who were customarily obliged to pay them. They performed everywhere, in the homes of their patrons, public places or on stage, also in Mughal courts, palaces of nawabs, mahals (castles) of rajas, bungalows of British Raj officers, homes of nobles, havelis (mansions) of zamindars (landowners) and many other places.
They [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.
The nautch party musicians historically played four instruments: sarangi, tabla, manjeera and dholak. A fifth instrument, the harmonium, was introduced in the beginning of the 20th century. Musicians performed while standing in the courts, palaces and the homes of rich patrons. They performed while sitting in the homes of poor patrons and in public performances. Singers of the nautch party used thumri, dadra, ghazal and geet.
Nautch handlers: mama and muhafizEdit
A "mama", usually an older experienced maidservant, who sat in a corner of the dais preparing paan (betel nut) and beedi (Indian cigar) for patrons, was responsible for taking care of nautch girls, their meals, and safekeeping of the jewelry worn by them. A "muhafiz" was an unarmed guard who maintained order, acted as usher, and ensured protection during performance and travel. "Mashalchis" (one or two lamp bearers) of the troupe were responsible for the lighting during night performances.
The tent was most glaringly lighted, massaulchis or torch-bearers stood here and there ready to attend to any person who might require them…we had scarcely seated ourselves ere two of them made their appearance, floating into our presence, all tinsel colored muslin and ornaments: they were followed by three musicians, and attended by a couple of mussaulchis who held their torches first to the face and then lower down as if showing off the charms of the dancers to the best advantage.— Lieutenant Thomas Bacon, Description of Late Evening Nautch
Famous nautch girlsEdit
Roopmati was a famous Hindu nautch girl from Saharanpur, who married Baz Bahadur, the Muslim sultan of Malwa. Akbar the Great is said to have invaded Malwa after hearing about her beauty. In 1561 Akbar's army, led by Adham Khan and Pir Muhammad Khan, attacked Malwa and defeated Baz Bahadur in the battle of Sarangpur (29 March 1561). One of the reasons for Adham Khan's attack seems to be his lust for Rani Roopmati. She, however, poisoned herself upon hearing of the fall of Mandu. Baz Bahadur fled to Khandesh.
From time immemorial Indian poets have sung praises of the 'public woman', the professional entertainer. The epics give us a colourful description of her intimate connection with royal splendour. The Puranas highlight her auspicious presence as a symbol of good luck. Buddhist literature also testifies to the high esteem in which she was held in society. She appears through the ages in different incarnations from apsara [celestial virgin] in divine form to ganika [attendant], devdasi [spiritual dancer], nartika [ordinary dancer], kanchani, tawaif [cultured professional courtesan] and nautch girl [dancer member of the professional troupe].
Decline in patronage, shift towards prostitutionEdit
In the mid-nineteenth century, with the spread of western education and pressure from the increased number of Christian missionaries after the opening of the Suez Canal in 1869, dance was stigmatized and shunned by British and Indians. Consequently, nautch girls abandoned by their patrons were often forced to take up prostitution for survival, and by the early 20th century the respectable art of nautch had acquired a derogatory connotation.
- Scott A. Kugle, 2016, When Sun Meets Moon: Gender, Eros, and Ecstasy in Urdu Poetry, p.230.
- "Nautch girls: Sahibs danced to their tune". Retrieved 25 July 2004.
- Yasmini in "King, of the Khyber Rifles" by Talbot Mundy ISBN 0854681779 Tom Stacey 1972 orig 1917 hb, p16
- Nautch Girls of the Raj, Mumbai Mirror, 8 Aug 2010.
- 1857, The Athenæum: A Journal of Literature, Science, the Fine Arts, p.876.
- F. M. Coleman, 1897, Typical Pictures of Indian Natives: With Descriptive Letterpress, Thacker & Company, limited, p.19.
- Julia,1873, India : pictorial, descriptive, and historical : from the earliest times to the present with nearly one hundred illustrations., London, p.241.
- The Nautch - Ally Adnan on the colorful dancing girls who dazzled India in the 19th century, The Times of India, 1 Aug 2014.
- 1835, [The English in India, and other sketches, by a traveller], London, p.178.
- 1967,Mainstream, - Volume 6, p.28.
- Smith, Vincent, Arthur. Akbar the Great Mogul, 1542-1605.
- "Prostitution and Culture: The Case of the Dancing Girl · Prostitution and Colonialism: A Comparative Analysis of Algeria and North India · A la Recherche des Femmes Perdues". onprostitution.oberlincollegelibrary.org. Retrieved 2019-01-07.
- cf. the evidently scandalous character of a nautch-girl in dialogue in Act 1 of the play The Watched Pot by "Saki" and Charles Maude: The Novels and Plays of "Saki" (H H Munro), 1933, The Bodley Head, London, p.389.
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