{"id":61,"date":"2017-06-19T21:34:21","date_gmt":"2017-06-20T02:34:21","guid":{"rendered":"http:\/\/www.huronresearch.ca\/courtesansofindia\/?p=61"},"modified":"2019-06-25T11:53:10","modified_gmt":"2019-06-25T16:53:10","slug":"61","status":"publish","type":"post","link":"https:\/\/www.huronresearch.ca\/courtesansofindia\/?p=61","title":{"rendered":"Walker, Margaret E. \u201cThe \u2018Nautch\u2019 Reclaimed: Women\u2019s Performance Practice in Nineteenth-Century North India.\u201d South Asia: Journal of South Asian Studies, vol. 37, no. 4, 2014, pp. 551-567"},"content":{"rendered":"

Abstract<\/strong><\/p>\n

The hereditary women performers of north India, called \u2018nautch girls\u2019 by the colonial British, and courtesans or tawa\u2019ifs by today\u2019s scholars, played a central role in the performance of music and dance in the eighteenth and nineteenth centuries. Substantial recent scholarship has focused on their songs, poems and cultural history; consequently, this article addresses choreography, the missing part of their performance practice. Through a detailed examination of dance descriptions in nineteenth-century treatises and comparison of this material with colonial iconography and travel writings, Walker offers new research about nineteenth-century female performance, placing its practice in historical context and speculating about its evolution and change.<\/p>\n

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