{"id":196,"date":"2017-10-23T19:35:59","date_gmt":"2017-10-24T00:35:59","guid":{"rendered":"http:\/\/www.huronresearch.ca\/courtesansofindia\/?p=196"},"modified":"2017-10-23T19:35:59","modified_gmt":"2017-10-24T00:35:59","slug":"maciszewski-amelia-tawaif-tourism-and-tales-the-problematics-of-twenty-first-century-musical-patronage-for-north-indias-courtesans-the-courtesans-art","status":"publish","type":"post","link":"https:\/\/www.huronresearch.ca\/courtesansofindia\/?p=196","title":{"rendered":"Maciszewski, Amelia. \u201cTawa\u2019if, Tourism, and Tales: The Problematics of Twenty-First Century Musical Patronage for North India\u2019s Courtesans.\u201d The Courtesan\u2019s Arts: Cross-Cultural Perspectives. Edited by Martha Feldman, Oxford UP, 2006, pp. 332-352."},"content":{"rendered":"
\"\"<\/a>

Cover image from oupcanada.com<\/a><\/p><\/div>\n

From the introduction: <\/strong>\u201cIn [this essay], I examine how a group of North India’s tawa’if (courtesans-low-status professional women musicians and dancers) are adapting to changing musical patronage in the twenty-first century, using their music and dance as a tool for empowerment. Juxtaposing ethnographic accounts with qualitative analysis of performance practices and oral narratives of several professional women musicians and a few men who hail from provincial cities and towns in eastern Uttar Pradesh and western Bihar, I open up exploration of a number of issues\u2026.<\/p>\n

The English word ‘courtesan’ fails to capture the diversity of this community in South Asia, which runs the gamut from highly trained and refined court musicians\/dancers\/poets to street performers who entertain at festivals and weddings, instead creating a discursive stereotyping or ‘totalizing’\u2026. One of the aims of this essay is to unpack the terms \u2018courtesan\u2019 and \u2018prostitute\u2019 and notions about them through an ethnography of the performance process and event as well as narratives about (and by) the performance, the performers, and the patrons. Another is to examine the relations of production among the performers and the Guria administration, in particular Ajeet Singh. In doing so, I open up the question, albeit in a preliminary way, of how the cultural integrity of the \u2018courtesan tradition,\u2019 identified through its continued cultivation and renewal of a body of repertory and performance practices consisting of a variety of genres that originate from several historical points (feudal, colonial, post-feudal, and postcolonial), may be challenged in the Guria frame by expectations of authenticity and\/or respectability informed by dominant Indian middle-class values.\u201d<\/p>\n

 <\/p>\n

Notes<\/strong><\/p>\n