"My
Name is Gauhar Jaan!" - The earliest recordings of Indian
music are distinguished by this high-pitched and flirtatious
announcement, made towards the end of the rendition. This
declaration of the singer seemed to epitomize a milestone in the
history of Indian classical music, one that would change forever
its content, structure and style of presentation.
The music scene in India at the turn of the 20th century
witnessed tumultuous changes. The traditional custodians of the
art form - the devadasis of the South and the nautch girls and
tawaifs of the North, who had nurtured the art for centuries,
became victims of the morality laws of the British government
and the prudery of an 'enlightened' and educated Indian elite.
However Gauhar Jaan (1873-1930), eminent Hindustani/North Indian
classical vocalist, symbolizes the resurgent women musicians of
the time.
Born as Eileen Angelina Yeoward, an Armenian Christian who later
converted to Islam, Gauhar Jaan was a naturally gifted musician
with a wide repertoire. One of the earliest women artists who
seized opportunity that came with the advent of recording
technology, hers was the first Indian voice to be recorded in
1902. In her illustrious career she cut close to 600 records.
Along with her musical talents, her striking good looks,
flamboyant lifestyle, fluency in several languages and her
ability to compose verses in Urdu and Hindi made her a popular
figure, both nationally and internationally. She had the rare
distinction of performing in front of Emperor George V in the
famous Delhi Durbar in 1911.
This book traces the story of her life with all its attendant
myths, legends and folklore, some of which are recorded, some
apocryphal; as well as the times during which she lived and made
exquisite music. The socio-cultural context serves to put her
contribution and the role of women like her to Hindustani music
in perspective. Through her music an attempt is made to analyze
the different genres of Hindustani music that Gauhar and singers
like her popularized, namely the Thumri, Dadra, and Ghazal. The
book also describes briefly the evolution of the recording
industry in India and its impact on Indian music, theatre and
social life.
