A slightly different version of this essay was published in 2006 on sathirdance.blogspot website. Cover image from the 1850s for representational purpose only. Source: V&A Museum. In this essay, I have preserved the original spelling of names and places, reflecting the historical context of that period. Download the complete essay on Academia: PDF
September 12, 2008 / By Jeetendra Hirschfeld
NOTE:
Sathir Dance Art Trust Amsterdam © 2006-2008.
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The Golden Jubilee Celebrations of Queen Victoria in the Madras Presidency
On Wednesday, 16th February 1887, the Golden Jubilee of Queen Victoria’s accession to the throne was celebrated across India, including the Madras Presidency. Throughout the day, towns and villages in the region celebrated the occasion with various events and ceremonies. Temples, churches, and mosques held special religious services and delivered Presidential Addresses for the well-being of the Queen. The streets and houses of every town were beautifully adorned and illuminated beyond recognition. Jubilee parades, sports events, fireworks, and music and dance performances were also part of the festivities. In the Madras Presidency alone, which had 31 million subjects, 191 towns paid homage to Queen Victoria.1 Sir Charles Lawson’s 1887 compilation, “Narrative of the Celebration of the Jubilee of Queen Victoria” provides a detailed account of the celebrations specific to the Madras Presidency.2
What sets Wednesday, 16th February 1887, apart is the occurrence of “nautch parties”3 during the Golden Jubilee celebration. Out of the 191 participating towns in the Madras Presidency, 108 hosted 175 nautch parties. These parties featured dancing girls, musicians, and the tradition of offering pan supari.4 Nautch parties could be found preceding temple processions, performing at palace durbars, or entertaining in specially constructed Pandals5 or reading rooms. Alongside the nautch parties, music ensembles and natakams (theatrical performances) added to the grandeur of the celebrations. These Golden Jubilee festivities marked a significant historical event and are likely to have been the last large-scale nautch parties of that era. A few years later, in the 1890s, the “anti-nautch” movement gained prominence in South India.
Preparations for the Golden Jubilee
On 16th September 1886, during a public meeting held in Madras City, a general committee put forth a proposal to reschedule the Queen’s Jubilee. Originally planned for 20th June 1887 (the anniversary of her accession), it was suggested that the celebration be moved to 1st January 1887 due to concerns over unfavourable weather conditions in June. In response, district collectors and judges extended invitations to sub-committees, tasking them with coordinating preparations for the Jubilee in their respective districts. However, feedback received from various districts revealed that 1st January would not be an ideal day for the festivities, as numerous public functionaries would be absent, having chosen to spend their Christmas vacations elsewhere. Consequently, a proclamation letter was issued by the Viceroy, officially designating Wednesday, 16th February 1887, as the appointed day for the celebration. After further public meetings, the proposal garnered widespread acceptance, with one hundred and ninety-one committees in various towns pledging their commitment to commemorating the Golden Jubilee on the proposed day in February.
The Presidential Casket
Sir Charles Lawson had the esteemed honour of personally presenting the Madras Presidential Address to Her Majesty the Queen Empress at Windsor Castle in June 1887. As a gift from the people of the Madras Presidency, a special casket was prepared. The centrepiece of this casket was a magnificent oxidised silver elephant, standing at ten inches tall. Inside the casket, there was a copy of the Presidential Address as well as Lawson’s memorial volume titled “Narrative of the Celebration of the Jubilee in the Presidency of Madras.” A facsimile of the book was also presented to Edward, Prince of Wales. The Prince showed great admiration for the book and took the time to examine the photographs, many of which depicted towns in Southern India that he had personally visited during his 1875 trip. Notably, on 17th December 1875, the Prince attended an entertainment event in his honour at the Royapuram Railway Station in Madras, where he was introduced to the celebrated courtesan Tanjore Gnyana.
I have provided a detailed account of Prince Edward’s visit to Madras in my 2006 essay titled “Courtesan Tanjore Gnyana, A Pas Seul at Royapuram, Madras, 17th December 1875”. During the event, the Prince was presented with a splendid ivory and gold casket, and the festivities continued with a grand nautch party performed by Tanjore Gnyana, showcasing her exceptional talent.
Nautch Parties in the Madras Presidency
16th February 1887
Following the jubilee event, the Honorary Secretaries of the Jubilee Committees conveyed the narratives of the celebration to Sir Charles Lawson. Although a comprehensive survey of the Golden Jubilee of the Madras Presidency was available, condensation was necessary. Additional material would have made the book unwieldy, leading Lawson to reluctantly refrain from its inclusion. As a result, many reports only reference the “nautch party” and other festivities in passing.
My focus lies on the more detailed reports, particularly those regarding the nautch parties held in durbar settings or within Pandals. Prior to the commencement of a nautch party, there would be performances on the veena or violin, vocal renditions, kolattam (performed by a separate group of nautch dancers), or natakam performances.6 The nautch performances held within Pandals or Reading Rooms may be among the earliest instances of courtesan “stage” performances.
Madras City
The most elaborate Golden Jubilee celebration took place in Madras city. Lawson’s book provides a detailed account of the Madras event spanning forty pages (Pages 8 to 32, and 32a to 32h). Interestingly, there is no mention of Nautch parties. In Madras, every building, house, and road was adorned and illuminated with thousands of lamps, Chinese lanterns, and decorated flags. Paintings depicting the Queen graced the walls of buildings across the city. Churches held religious services, and provisions were made to feed the poor throughout the day. The jubilee parades attracted an immense crowd of spectators.
The absence of Nautch in Madras is intriguing, considering the presence of musical entertainment, plays, and sports events. A special choir performed the National Anthem. A state banquet was hosted at the Government House, and the celebrations concluded on the city’s beaches at night with fireworks and the distribution of pan supari. As I mentioned earlier, Nautch parties typically preceded or followed these events.
It is worth contemplating the absence of Nautch during the Golden Jubilee in Madras. Some researchers have suggested that the death of King Śivājī7 in 1855 led to a “mass migration” of courtesans and musicians from the Tanjore area to Madras city. 8Migration has always been a part of the human experience and is often a response to adversity. However, the notion of a mass migration of dancers and musicians leaving Tanjore due to Śivājī‘s death is misleading. The Tanjore Raj was renowned as one of the wealthiest and most illustrious kingdoms in South India, known for attracting artists throughout generations. However, it is crucial not to assume that all artists were registered with the Tanjore palace. Even before the passing of King Śivājī, it is reasonable to assume that artists would have migrated to different destinations, resulting in a continuous flow of talent beyond the kingdom’s borders.
I propose that after Śivājī’s death, migration did not occur en masse but rather in smaller groups towards Madras and other regions within the Tanjore district. Some artists might have also emigrated to Ceylon (Sri Lanka) in search of new opportunities. If there was a significant influx of dancers and musicians to Madras after Śivājī‘s death, what roles did they assume upon their arrival? Did they occupy positions similar to those they held in Tanjore? Did they coexist with local dancers and musicians?
It is noteworthy that when the Tanjore Raj became extinct in 1856, there was no immediate urgency for a large-scale migration. The Dowager Queen Kāmākṣi Bāi9 continued to provide salaries and pensions to individuals associated with the palace (Hickey, 1874). I argue that the initial years following Śivājī‘s demise were a transitional period without a substantial loss of livelihood for Tanjore artists. Even the Southern India famine of 1876 to 1878 did not trigger a mass migration of those who had once been connected to the Tanjore Raj.10 While some dancers and musicians may have migrated, most likely maintained a strong attachment to the historical association with the Tanjore Raj, which had been the pinnacle of prosperity and cultural excellence in South India (Digby, 1878, 135-137). The narrative of the Golden Jubilee of Victoria in 1887 supports my argument, as Nautch was prevalent in almost every town and village of the Madras Presidency, except in Madras city.
Tanjore Town
Once a thriving kingdom that nurtured the arts, Tanjore stood as a beacon of music and dance for centuries. The echoes of royal patronage resounded through its majestic halls, as successive kings celebrated the expressive arts. However, the collapse of the Tanjore kingdom in 1855, when it lapsed into the hands of the East India Company, marked the end of an era. King Serfoji,11 the last of the Mahratta rajahs, and his son and successor, Śivājī, held the torch of artistic fervour, embracing music, poetry, literature, and dance. Among the luminaries of their court were the famed Tanjore Quartet, the extraordinary nattuvans who crafted the exquisite Sadir Margam repertoire, enriching the world of dance under their royal patronage.12
Meanwhile, in the midst of grand jubilee celebrations, Tanjore witnessed a procession like no other. At 6:30 p.m., a portrait of the Queen Empress, gracefully perched in a howdah atop an elephant, embarked on a journey through the town. Every house and roadway adorned itself in resplendent splendour, eagerly awaiting the royal entourage. The procession found its way through the streets, gradually approaching the palace grounds, where anticipation reached its zenith.
As the evening deepened, the palace’s Sivasaudha hall resonated with the sounds of a distinguished gathering.13 In the presence of Mahārānī Kāmākṣi Bāi and other senior ranis,14 the secretary of the jubilee committee, Saminatha Ayar, proposed the adoption of the Presidential Address to Queen Victoria. Etiquette demanded a muslin curtain to discreetly separate the ranees from the rest of the assembly, preserving decorum and tradition.15 The esteemed Tanjore palace band, faithful guardians of the musical legacy, struck a chord with the national anthem, evoking a sense of pride and unity.16 The Mahārānīs and esteemed guests affixed their signatures to the Presidential Address, sealing the bond between Tanjore and the Queen. The Golden Jubilee celebration reached its culmination with a captivating nautch party that echoed through the halls, bidding a farewell to a bygone era of courtly performances. The night sky sparkled with a splendid fireworks display, casting fleeting shadows on the palace walls. Fragrant rosewater,17 pan supari, and flower garlands were distributed as a tribute to Tanjore’s cultural heritage.
The Palace nautch party on 16th February 1887, serves as a poignant reminder of the diminishing presence of courtesan dancing within the esteemed walls of the Tanjore palace, forever etched in history.
Surrounding Areas of Tanjore
—In Kodavassal (Tanjore), the break of dawn marked the commencement of pujas at the Siva and Vishnu temples. As the clock struck 4 p.m., a lively procession took to the main streets, led by priests and accompanied by dancing girls. Along the way, the air was filled with the sweet fragrance of flowers, as they were generously distributed alongside sugar candy and pan supari. As night fell, a grand nautch party and mesmerising musical performance unfolded, captivating an audience of 7,000 attendees.
—In Kumbhakonam (Tanjore), the town came alive around 8 p.m. with the commencement of a magnificent procession from the Mahamaham Tank. Leading the way was a splendidly adorned elephant, proudly carrying a howdah adorned with Her Majesty’s portrait. Accompanied by dancing girls and a vibrant music band, the procession comprised an impressive gathering of approximately 15,000 people.
—In Tiruvalur (Tanjore), both the Siva and Vishnu temples adorned themselves ambitiously for the occasion. At 2 p.m., the distinguished residents assembled at the Munsiff’s Court House, commencing a colourful procession accompanied by melodious music and beautifully attired dancing girls. Upon reaching the Siva temple, the air resonated with the enchanting melodies of the veena, as two dancing girls sang soul-stirring songs. As nightfall arrived, the festivities continued with captivating music and multiple nautch parties. The following evening witnessed the radiant illumination of the Siva temple’s gopuram, accompanied by melodious tunes and teverams.
—In Tranquebar (Tanjore), a spacious Pandal opposite the old Court-house hosted a captivating evening. The Tanjore Band graced the event, serenading the attendees intermittently with their melodious tunes. As night cast its enchanting spell, a torchlight procession filled the main streets, accompanied by harmonious music and soulful songs. Returning to the brilliantly illuminated Pandal, a brief account of Queen Victoria’s life was presented in Tamil, followed by an enthralling nautch party.
—In Vedarniam, near Tanjore, the pealing of temple bells marked the early morning prayers, invoking blessings for the long and prosperous reign of Queen Victoria. With the conclusion of prayers and pujahs, the gathering congregated at the Jubilee Pandal. Several officials delivered speeches, setting the stage for a delightful singing entertainment. As the clock struck 8 p.m., a torchlight procession commenced its journey, led by musicians and accompanied by dancing girls. The procession made frequent stops, exuberantly cheering for Her Majesty as it traversed the beautifully adorned and illuminated streets. Returning at 10 p.m. to the Jubilee Pandal, a splendid display of fireworks illuminated the night sky. The following night, from 9 p.m. till midnight, a captivating nautch party enthralled the crowd, leaving them with lasting memories of the jubilant celebrations.
Chidambaram (South Arcot)
In Chidambaram, a temple town by the Vellar river, the Jubilee Committee, Municipal Councillors, and others gathered near Thillai Nataraja temple. They formed a procession with a music band and dancing girls, distributing sugar in honor of the Jubilee. The evening adorned the gopurams, roads, and houses with brilliant illuminations. A salute of guns signaled the start of the entertainment. In a decorated Pandal, three renowned singers delighted the audience with songs, accompanied by dancing girls performing nautch, Kolattam, and Kummi.18 As the night sky glittered with a breathtaking display of fireworks, a symphony of colours illuminated the heavens, creating a spectacle that left everyone in awe. The air was filled with the fragrant essence of flowers, as they were joyfully distributed among the attendees. The sweet flavours of pan supari delighted the senses, while the gentle sprinkling of rose water brought a refreshing conclusion to the night’s festivities.
Jammalamadugu (Cuddapah)
In Jammalamadugu, Cuddapah, the day began with a procession carrying the foundation stone of the “Jubilee Choultry”19 through the main streets. Music filled the air as nautch parties followed along. Upon reaching the Siva temple by the Pennar river, the procession came to a halt. In the evening, at 8 p.m., a lively nautch party took place at the Reading Room, accompanied by captivating dramatic performances (natakams). The following day, another enchanting nautch party unfolded at the Jubilee Club, starting at 8 p.m.
Kalahasti (North Arcot)
His Highness, Raja Sir Panaganti Ramarayaningar, convened a Durbar at the Lutchmi Vilasam Hall of his Palace. The Durbar was attended by his relatives, station officers, members of the Lutheran Mission, and other esteemed individuals. The event commenced with His Highness taking his seat, accompanied by a salute of 21 guns. The Presidential Address to the Queen Empress was then presented to the audience, first in English and then in Telugu. It was unanimously adopted and signed by His Highness and other dignitaries. The Durbar concluded with a melodious performance on the veena and an enchanting nautch party. Following another salute of 21 guns, the Rajah embarked on a procession through the main streets, riding atop his majestic State elephant, followed by his entourage. Subsequently, the gods were paraded through the streets, accompanied by lively music and graceful dancing girls.
Masulipatnam (Kistna)
At noon, the vibrant square of Masulipatnam came alive with eager crowds gathering for the grand celebration. Zamindars, European and native residents, and dignitaries arrived at the splendidly decorated tent of the principal. A joyous procession ensued, led by lively bands of musicians and accompanied by a multitude of dancing girls. As evening approached, the Court-house transformed into a magnificent Durbar Hall, where the Nawab of Masulipatam presented the esteemed Presidential Address. Rajahs Rangayya Appa Rao Lanadur and Simhadri Appa Rao Bahadur of Nuzivid graced the occasion. The festivities continued with a delightful dinner hosted by the Club members, exclusively for the Europeans in town. The following morning, a gathering of three hundred guests convened at Makaravaru’s Choultry for a delightful breakfast, followed by captivating performances by multiple nautch parties. The grand finale arrived in the form of a splendid banquet in the Durbar hall, resplendent with sparkling chandeliers. The night resonated with the captivating rhythms of a mesmerising nautch party.
Paramathi & Tirupatur (Salem)
In Paramathi, a grand Pandal adorned with leaves, garlands, and banners stood as a permanent memorial of the Jubilee. Multiple nautch parties enthralled the audience with their captivating dances. The gods were then taken on a procession through the town, accompanied by a lively music band and graceful nautch girls. The first day’s festivities concluded with the nautch girls singing the National Anthem, accompanied by the distribution of rose water and pan supari. In Tirupatur, prayers were offered in all places of worship, followed by a vibrant procession with music and dance filling the streets. As the evening arrived, a beautifully illuminated pandal became the backdrop for a portrait of the queen adorned with fragrant garlands. A renowned piper from Tanjore delivered a captivating performance, culminating in a grand display of fireworks and the joyful distribution of rose water and pan supari. The following day, an afternoon music ensemble delighted the audience, while the evening hours between 9 and 11:30 p.m. saw nautch performances within the pandal.
Penukonda (Anantapur)
The festivities commenced with a large gathering within the premises of Ramaswamy temple, where a beautifully decorated Mantapam and an imposing Pandal near the entrance created a captivating ambiance. Led by the District Munsiff20 and other officials, over 1,000 people marched alongside music and nautch girls to the bungalow of the Head Assistant Collector for a thrilling sports event. As night fell, the Jubilee Hall became the focal point, attracting over 2,000 people. Accompanied by gods, music, nautch girls, and dazzling fireworks, the procession traversed the illuminated high street, culminating at the north gate of the town where a “Memorial Lamp” stood proudly. After the procession, the attendees gathered for a delightful supper, followed by an eagerly anticipated nautch party in the Jubilee Hall. The nautch performance began at 10 p.m., with European guests taking their seats on the reserved podium. Nearly a thousand spectators marvelled at the enchanting entertainment, which continued until midnight. The subsequent night, at 9:30 p.m., another enthralling nautch party captivated the audience, extending late into the night, concluding at 1 a.m. The following evening featured a similar program, complete with sports activities, fireworks, and multiple nautch parties.
Pittapur (Godaveri)
During the Golden Jubilee celebration in Pittapur, eight lively nautch parties added to the festive atmosphere. At 5 p.m., a magnificent procession commenced from the Victoria Hall within the Fort of Pittapur. The Rajah of Pittapur led the way, accompanied by officials and jubilant townsfolk adorned in their finest attire. A resplendently decorated elephant carried a regal howdah bearing Her Majesty’s portrait. The procession, accompanied by musicians and four vibrant nautch parties, meandered through the beautifully adorned and illuminated streets. At 8 p.m., the procession returned to the Victoria Hall, where Her Majesty’s portrait was ceremoniously placed. Address readings in English, Sanskrit, Telugu, and Hindustani, along with speeches and further nautch performances, captivated the audience. The proceedings concluded with the distribution of fruit, flowers, perfumes, and pan supari. The following evening witnessed horse races, wrestling, and other sporting events, followed by captivating fireworks, music, and additional nautch parties.
Ranipet (North Arcot)
On the morning of the 16th, temples, churches, and mosques in Ranipet held special services as part of the Golden Jubilee celebrations. Four exuberant nautch parties enlivened the festivities. At night, an enchanting public nautch and a dazzling fireworks display united the residents of Ranipet and Wallajapet at a midway location between the two towns. In the subsequent three nights, exclusive nautch parties were hosted at the homes of esteemed individuals in Ranipet. On the 17th, Monsieur Morison’s premises witnessed a lively nautch, while Rajaratna Mudelliar’s house became the venue on the night of the 18th. The following night, the home of C. Balakrishna Mudaliar hosted another splendid nautch party.
Vizianagram (Vizagapatam)
The generous Maharajah of Vizianagram21 made a princely donation to the Golden Jubilee celebration and allocated a substantial amount for temple maintenance. The festivities commenced early in the morning with a salute of one hundred and one guns from the bastions of the Maharajah’s fort. A grand Durbar unfolded under a spacious Shamiana, set up on the maidan (open ground), where a multitude of people gathered to sing verses praising Her Majesty. Music filled the air, followed by an extravagant nautch party. In the evening, a grand procession paraded through the streets, featuring the Maharajah’s majestic State elephants, camels, horses, carriages, troopers, and infantry. The spectacle was accompanied by captivating fireworks, melodious entertainment, and enthralling natakams, which continued well past midnight.
The Disappearance of the Nautch Girl
Charles Lawson’s compilation of the Golden Jubilee celebrations in the Madras Presidency provides valuable insights into the remarkable phenomenon of nautch parties, with approximately one hundred and seventy-five recorded on 16th February 1887. These lavish gatherings marked the pinnacle of nautch performances on a grand scale. During the late 1880s, the nautch girl and her accompanying musical ensemble still held an indispensable position within the cultural tapestry of South India. Their presence was deemed essential for auspicious beginnings, the culmination of significant events, religious festivities, royal durbars, pandals, reading rooms, weddings, and various official social and cultural functions. Indeed, the absence of a nautch party left celebrations feeling incomplete. However, by the 1890s, a growing anti-nautch movement began to gain prominence in South India. This sentiment was evident during the visit of His Excellency, Lord Curzon of Kedleston, Viceroy and Governor General of India (1899-1905), in 1900. Despite his high stature, Lord Curzon was no longer welcomed or entertained by nautch parties during his tour of South Indian towns.
In the 1901 edition of the Newcastle Morning Herald and Miners,22 an example was presented that highlighted the decline of the nautch girl’s influence. The report included a strongly worded message from the Indian Social Reformer, indicating a growing shift in attitudes towards the nautch tradition. This event served as a symbol of the changing times in South India, signalling the beginning of the end for the era of the nautch girl.
“The “Indian Social Reformer” wishes to note, with great pleasure and thankfulness a unique feature of His Excellency the Viceroy’s tour through Southern India, namely, that he was nowhere greeted by the “nautch girl”. She used to be everywhere at one time, on railway platforms, in processions, and durbars. It seemed as if we had lost the faculty of rejoicing in anything without rejoicing in the high of dancing girls. The band, the nautch, and the betel formed a tripled humane existence in India. The nautch is a relic of the barbaric age when greatness was measured by luxury and voluptuousness. It is altogether out of harmony with the spirit of a civilization that demands that a woman shall no longer be a slave…Lord Curzon has preached the gospel of work and righteousness to the prince and the soldier. It was peculiarly appropriate that the nautch girl should have banished from his presence.”
—
Endnotes
- I have focussed mainly on the areas of Southern India, that include Tamil Nadu, and parts of Andhra Pradesh. ↩︎
- Sir Charles Lawson played a crucial role in the Golden Jubilee celebrations as the delegate of the Governor of Fort St. George and the Honorary Secretary of the Madras Central Jubilee Committee. The compilation of the narrative documenting the jubilee celebrations was his brainchild. In the two months following February 16, Lawson diligently collected reports on the jubilee celebration from the Honorary Secretaries of the Jubilee Committees across the Madras Presidency. His efforts were instrumental in capturing the essence of the grand event. ↩︎
- A “nautch party” typically refers to the performance of a courtesan, also known as a “dancing girl”, accompanied by her band of musicians. The dance was additionally known as Sadir, Tanjore Natyam, Bharatanatyam. These performances would take place in various settings, such as royal durbars, pandals (ceremonial tents), or other public spaces. Additionally, devadasis, who were temple dancers, would also participate in the preparatory rites and rituals of temples and dance in front of the deities during processions. ↩︎
- Pan is the betel leaf, and supari is the areca nut. It is chewed with lime. ↩︎
- A Pandal (Pantal) is a large open-sided temporary or permanent pavilion used for large gatherings. The purpose of a Pandal is to provide a covered space where people can come together and participate in various activities, such as performances, ceremonies, exhibitions, or social gatherings. ↩︎
- Kolattam or—“stick dance”— is a group dance of Tamil Nadu. The dancers dance in pairs. The sticks provide the main rhythm. ↩︎
- King Sivaji, who reigned from 1832 to 1855, held the esteemed position as the final titular king of Tanjore. However, following his passing and the absence of a male heir, the Doctrine of Lapse, enforced by Lord Dalhousie (1812-1860) and the East India Company, was implemented. See, Hirschfeld (2008). ↩︎
- See for example: Meduri, Avanthi. 1996. Nation, Woman, Representation: The Sutured History of the Devadasi and Her Dance. PhD dissertation, New York University. ↩︎
- Her Highness Srimant Akhand Soubhagyavati Matusri Kāmākṣi Bāi Chhatrapati Mahārānī Sāhibā, who was born approximately in 1827 and passed away in 1892. ↩︎
- Also known as the Madras Famine of 1877. ↩︎
- King Serfoji of Tanjore, reign 1798-1832. ↩︎
- Tanjore Quartet: Chinnayya (1802-56); Ponnayya (1804-1864); Sivanandam (1808-1863); Vadivelu (1810-1847). The brothers were a notable quartet who played an important role in adapting dance theory into practice from the 1820s on. They created the “Margam” repertoire which became the standard of the courtesan dancer and her musical band (nautch party). ↩︎
- The Sivasaudha Hall was a hall of stately proportions, with polished floors and pillars; decorated with modern ornaments such as carpets, mirrors, and chandeliers. ↩︎
- Her Highnesses Srimant Akhand Soubhagyavati Matusri Gourama Bāi Chhatrapati Mahārānī Sāhibā (1842-1900) and Srimant Akhand Soubhagyavati Matusri Jijamba Bāi Chhatrapati Mahārānī Sāhibā (1842-1912). ↩︎
- A muslin curtain is made from a lightweight and sheer cotton fabric called muslin. It provides a delicate and airy appearance while still allowing some light to pass through. Muslin curtains are often used to create a soft and ethereal ambiance in interior spaces. ↩︎
- The Maharajah Tanjore Serfoji is credited with the formation of the Tanjore Band. The band consisted of Indian and European instruments. ↩︎
- Rosewater sprinkling is an accompaniment to celebrations. What in a cold climate would be considered somewhat disagreeable lives grateful and refreshing in tropical weather. ↩︎
- Folk dance of Tamil Nadu and Kerala. ↩︎
- A choultry, also known as a choultrie or choultri, is a traditional Indian building or structure that serves as a resting place or shelter for travellers, pilgrims, and visitors. It typically provides basic amenities such as accommodation, food, and sometimes even medical facilities. Choultries are often associated with religious places, such as temples or holy sites, and are intended to offer temporary respite to those on a journey or in need of assistance. They have historical and cultural significance, serving as important social and community spaces in many regions of India. ↩︎
- A District Munsiff is a judicial officer who presides over cases in the lower courts at the district level. The position of District Munsiff is typically found in the Indian judicial system. They handle civil cases of a certain jurisdiction and have the authority to make judgments and decisions on legal matters within their assigned district. ↩︎
- His Highness the Honourable Pusapati Ananda Gajapati Raz, Maharajah of Vizianagram (1850-1897). ↩︎
- Newcastle Morning Herald and Miners’ of Tuesday, January 29, 1901, (NSW: 1876-1954), page 6: The Disappearance of the Nautch Girl”. ↩︎
Bibliography
Digby, William. 1878. The Famine Campaign in Southern India, madras and Bombay Presidencies and Province of Mysore, 1876-1878. Vol I & II. London: Longmans, Green, and Co.
Lawson Charles. Compilation of the Narrative of the Celebration of the Jubilee of Her Most Gracious Majesty, Queen Victoria, Empress of India, in the Presidency of Madras. London, MacMillan, and Co. First Edition, June 1887, and the Second Edition, August 1887.
Hickey, William. 1874. The Tanjore Mahratta Principality in Southern India: the land of the Chola; the Eden of the South. Madras: Foster and Co. 1st edition.
Hirschfeld Jeetendra. 2006. Courtesan Tanjore Gnyana, A Pas Seul at Royapuram, Madras, December 17, 1875. TQ/PAPER007/10092006. (Access on Academia website).
Hirschfeld, Jeetendra. 2008. The Tanjore Quartet & the Maharajahs of the Tanjore Musnud as the Patrons of Dance. (Access on Academia website).
COPYRIGHT
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“One hundred and Seventy-Five Nautch parties on February 16, 1887”
(The Golden Jubilee Celebrations of Queen Victoria in the Madras Presidency)
Author: Jeetendra Hirschfeld
Sathir Dance Art Trust, Amsterdam-Chennai
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