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It wasn’t aloof addition aristocratic wedding, back Nawab Ghulam Ghouse Khan, the aftermost Nawab of Carnatic, took Jahangir Baksh as his additional wife. Unlike his aboriginal wife, who hailed from a Hyderabadi blue-blooded ancestors and called by the elders, Jahangir Baksh with whom the Nawab had absurdly collapsed in love, was a dancing girl, a coquette contrarily accepted as the Tawaif or Kanchen. On November 24, 1848, he affiliated the dancing babe Jahangir Baksh and awarded her the appellation Azamunnisa Begum.

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The tawaifs were changeable entertainers who excelled in the arts of poetry, music, dancing, singing, and were advised to be accomplished in amenities or what was accepted as ‘Aadaab.’ Highly admired for their affability and refinement, their ball was a accomplished antithesis of classical song and ball and adventurous enticement.

Though the tawaifs were no strangers to the Tamil country, in Madras they were mostly accepted as ‘Kanchen.’

“The aristocratic amid the tawaifs in the Mughal cloister were usually referred to as Kanchen” says Saba Dewan, an absolute documentary blur maker, who had fabricated a blur on the tawaifs of Varanasi and is currently autograph a book on the aforementioned theme. In the 1760s back Nawab Muhammad Ali Walajah confused his durbar from Arcot to Madras, it was alone accustomed that the cloister musicians and dancers, accomplished in Hindustani, followed him to the city.

According to Sawanihat-I-Mumtaz, which chronicles the history of the Nawabs of Carnatic, “Latifa, Tanu and Sajni, accepted as Sona, were the dancing girls” and “Aminud Din Khan and Ram Singh Bayragi” were the musicians generally arrive by Nawab Umdat ul Umra to accomplish at the alcazar of his chief sister, Sultan Unnisa Begum.

Umdat ul Umra, who additionally wrote balladry beneath the pen name Mumtaz, occasionally asked the musicians to set his verses to Hindustani tunes and alike chose the dancing babe to sing and ball the verse. An break like his ancestor Walajah’s altogether was acclaimed with Sona singing and dancing the verses of Umdat ul Umrah set to tune by Aminuddin Khan and Ram Singh.

Kanchenwada

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Over a aeon of time, Madras became home to a cardinal of Kanchen attractive for advocacy and a belt sprang up in the affection of Madras, appropriate abutting to Amir Mahal at Royapettah.

Mir Bakshi Ali Street, Mohammed Hussain Street and Jani Jahan Khan Road, area interestingly the Anglo Indians additionally lived, became the centre of a advancing Hindustani music and ball attitude in Madras. Perhaps due to the absolute cardinal of dancing girls and musicians at Madras, who originated from Hubli Dharwad, the two streets and the alley came to be accepted as Kanchenwada, as wada in Marathi agency a belt or a acceptable circuitous with several mansions for altered associates of a ancestors or a community.

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A aeon afterwards Nawab Ghulam Ghouse Khan anesthetized abroad the attitude was still animate in Madras. Old timers anamnesis that as the night wore on, the ‘Kanchenwada’ came animate to the rhythms of the tabla, harmonium, dholak, sitar and sarangi, aggressive with the ghungroo of the dancing girls, who sang carnal thumris from Urdu ghazals and accepted Hindi blur song.

For the aristocratic North Indian in Madras, it was at the Kanchenwada, at the mehfil, that some of the finest ghazals of Mirza Ghalib, Kaifi Azmi, Faiz Ahmed Faiz, Shahir Ludhianvi, Shakeel Badauni (UP) and abounding added poets could be heard. One could additionally accept to the brand of Ustad Bismillah Khan, ‘who at the allurement of Nayab Jan Bai played Shehnai at her house’ says Saleem, who learnt the Sitar from Ustad Ahmad Hussain. Aloof like their patrons, amid the Kanchen there were both Hindus and Muslims.

Kamala Bai, Gulzar Bai, Radha Bai, Haseena, Mumtaz, Nazeeraa Banu, Nayab Jan Bai and Baby Bai were some of the names that the old timers bethink with fondness. The Kanchen were captivated in such aerial admire that ‘the affluent acclimated to accelerate their accouchement to the tawaifs to apprentice etiquette,’ says Rauf, a chief photographer, who spent his adolescence in the Kanchenwada.

Cinema and the Kanchen

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“The kanchen additionally sang accepted songs from Hindi films such as ‘Pakeezah,’ ‘Kohinoor,’ ‘Taj Mahal,’ ‘Mughal-e-Azam’ and ‘Umrao Jaan’,” says Laiq Ahmed, who himself wrote balladry for the Kanchen. Though the accession of cinema meant new ball avenues for the masses, and possibly crumbling patronage, abounding Kanchen took to the medium. “Nasreen Banu had danced in Gemini studio’s Hindi blur ‘Paigham’,” says Ilavenil, a Tamil biographer who additionally happened to be her neighbour on Jani Jahan Khan Road. Baby Bai, the best accepted of the Madrasi Kanchen of the 1950s fabricated a bedfellow actualization in ‘Gharana’ as a nurse, says Laiq Ahmed. She additionally fabricated a film, which of advance bombed, recollected Abdur Razaaq, who met Baby aboriginal as a angel and concluded up marrying her in 1960.

Like the dancing girls, the Hindustani musicians too begin abode in the Tamil blur industry. Ustad Ahmad Hussain Khan from ‘Achpal Gharana’ in Pune, confused to Madras at the adolescent age of 14. He after became the Choudhry (caretaker) of the Kanchenwada at Royapettah. “He played Sitar for Tamil blur Music composers, mostly for K.V. Mahadevan,” says Saleem, his disciple. “The close-up attempt of the fingers arena the sitar in the acclaimed song, ‘Sonnathu Neethaana’ of Nenjil Oru Aalayam are not Devika’s but that of the Ustad Ahmad Hussain” reveals Makbhool Hussain, who acclimated to accompany the Ustad for recording to assorted studios in Madras. Incidentally, the Ustad additionally accomplished music at Bharatiya Vidya Bhavan. The Hindustani musicians begin advocacy in some of the city’s arresting hotels, while the Kanchen were arrive to accomplish at weddings.

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Most of the Kanchen had affluent patrons. “Every Kanchen who lived on Jani Jahan Khan Alley acclimated to absorb at atomic bristles customers. There was a bowl kept in advanced of the musicians. The ballerina acclimated to bead the money calm from the black into the plate. Afterwards the achievement it was breach amid the musicians and the dancers,’ says Makbhool Hussain, who played the tabla for abounding of them. There were occasions back a blessed angel would battery added than aloof money. Ilavenil, the Tamil journalist, remembers the instance of a angel throwing a abode certificate at Nazeera Banu (obviously he had registered it in her name), a Kanchen who had migrated post- Partition from a anarchism broken Delhi to the about assurance of Madras.

Though the Kanchen were entertainers and inhabited a apple that belted on the ‘sinful,’ they were additionally religious. Rauf, a chief columnist who lived in Mir Bakshi Ali Street observes, “They would not accomplish during the ages of Ramzan or during Muharram. They additionally acclaimed all festivals including Diwali,” he says.

Horse Racing

“Interestingly, the tawaifs from added cities, including Benares, Lucknow, Bombay, Nagpur, Hyderabad, Hubli and Khanpur, descended on the burghal back horse antagonism was on,’ says Makbhool Hussain. They apparently followed their affluent clientele, busy houses and camped in the burghal till the contest were over.

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However, cinema and the alteration amusing community were accepting an appulse on the Kanchenwada and agitation was brewing. The anti-Nautch movement that brought a alarming end to the Devadasi system, was accepting its appulse on the tawaifs too. Cases were filed to stop their convenance and Kamala Bai, a Kanchen, affianced M.A. Ghatala, a Aerial Cloister lawyer, to action the case. Around 1958, the Madras Aerial cloister disqualified in the Kanchens’ favour. “The kanchen acclaimed the win with a big affair for my father, at a abode abreast the Music Academy and the Tamil blur amateur and abundant actor Chandrababu was one amid the guests,” recollects Javed Ghatala.

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However, the times were changing. What the attorneys appropriately banned to stop was brought to an end by a marriage. Abdur Razaq affiliated Baby in 1960 and confused with her to the accessible T. Nagar in 1962. With Baby Bai, the brilliant aerialist affective out to advance a ancestors life, the Kanchenwada absent its lustre and abounding added Kanchen followed in Baby’s footsteps, gluttonous a approaching for themselves in the academy of marriage. By the 1970s, a little added than a 250-year old attitude in Madras came to an end, abrogation about no trace of its beaming past. As Nazeer Akbarabadi, the people’s artist of 18th aeon laments:

Kya tamashe inqelab-e-charkh ke kahiye Nazeer

Dum mein wo raunaq thi aur ek dum mein yeh be-raunaqi

(What to say of the lustre of revolving time, O Nazeer. In an burning there was such splendour and in another, this dullness)

(Second part: The Thanjavur Quartet connect)

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