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{{for|the small kingdoms of Al-Andalus known as tawa'if|Taifa}}
{{Use dmy dates|date=May 2017}}
{{Use Indian English|date=May 2017}}
{{Italic title}}
A '''''tawaif''''' was a highly successful entertainer who catered to the nobility of the [[Indian subcontinent]], particularly during the [[Mughal Empire|Mughal]] era. The tawaifs excelled in and contributed to music, dance ([[mujra]]), theatre, and the [[Urdu]] literary tradition,<ref>{{cite news| url=http://www.hindu.com/mp/2004/08/11/stories/2004081101090100.htm | archive-url=https://web.archive.org/web/20041127054112/http://www.hindu.com/mp/2004/08/11/stories/2004081101090100.htm | url-status=dead | archive-date=2004-11-27 | location=Chennai, India | work=[[The Hindu]] | title=Mapping cultures | date=2004-08-11}}</ref> and were considered an authority on [[etiquette]]. Tawaifs were largely a North Indian institution central to Mughal court culture from the 16th century onwards<ref>{{cite journal|last1=Schoffield|first1=Katherine Butler|title=The Courtesan Tale: Female Musicians and Dancers in Mughal Historical Chronicles, c.1556–1748|journal=Gender & History|date=April 2012|volume=24|issue=1|pages=150–171|doi=10.1111/j.1468-0424.2011.01673.x}}</ref> and became even more prominent with the weakening of Mughal rule in the mid-18th century.<ref>{{cite news |title= Fall of a culture|url= http://www.tribuneindia.com/2009/20090920/spectrum/main2.htm|newspaper= Tribune India|access-date=22 January 2012}}</ref> They contributed significantly to the continuation of traditional dance and music forms<ref>[https://books.google.com/books?id=lsuhSiITjU8C&pg=PA31&lpg=PA31&dq=faiza+bai+singer&source=bl&ots=U5PzzdU51U&sig=O10HHPFuDSWzBQinyRYGl8Mdilk&hl=en&sa=X&ved=0ahUKEwijpYX-2onUAhUowFQKHW6zBKoQ6AEINzAD#v=onepage&q=faiza%20bai%20singer&f=false Dance in Thumri, Projesh Banerji, Abhinav Publications, 1986, p. 31]</ref> and then emergence of modern Indian cinema.

==History==
The patronage of the Mughal court before and after the Mughal Dynasty in the [[Doab]] region and the artistic atmosphere of 16th century [[Lucknow]] made arts-related careers a viable prospect. Many girls were taken at a young age and trained in both performing arts (such as [[Kathak]] and [[Hindustani classical music]]) as well as literature ([[ghazal]], [[thumri]]) to high standards.<ref>{{cite news |title= A hundred years of unsung love|url= http://www.mid-day.com/articles/a-hundred-years-of-unsung-love/85029|newspaper= Mid Day|access-date=22 January 2012}}</ref> Once they had matured and possessed a sufficient command over dancing and singing, they became a ''tawaif'', high-class courtesans who served the rich and noble.<ref>{{cite news |title= The Last Song of Awadh|url= http://www.indianexpress.com/news/the-last-song-of-awadh/502153/0|newspaper=Indian Express |access-date=22 January 2012}}</ref>

The ''tawaif's'' introduction into her profession was marked by a celebration, the so-called ''missī'' ceremony, that customarily included the inaugural blackening of her teeth.<ref>{{cite web|url=https://oxford.academia.edu/ThomasZumbroich |title=Zumbroich, Thomas J. (2015) 'The missī-stained finger-tip of the fair': A cultural history of teeth and gum blackening in South Asia. eJournal of Indian Medicine 8(1): 1–32|access-date=2015-03-31}}</ref>

It is also believed that young [[nawab]]s-to-be were sent to these "tawaifs" to learn "tameez" and "tehzeeb" which included the ability to differentiate and appreciate good music and literature, perhaps even practice it, especially the art of ghazal writing. By the 18th century, they had become the central element of polite, refined culture in North India.

The tawaifs would dance, sing (especially [[ghazal]]s), recite poetry ([[shairi]]) and entertain their suitors at [[mehfil]]s. Like the [[geisha]] tradition in Japan,<ref>{{cite news |title= Courtesans resisted male dominance|url= http://articles.timesofindia.indiatimes.com/2002-12-29/lucknow/27292450_1_male-dominance-oldenburg-lucknow|archive-url= https://web.archive.org/web/20110916050107/http://articles.timesofindia.indiatimes.com/2002-12-29/lucknow/27292450_1_male-dominance-oldenburg-lucknow|url-status= dead|archive-date= 16 September 2011|date= 29 December 2002|newspaper= [[The Times of India]]|access-date=22 January 2012}}</ref> their main purpose was to professionally entertain their guests, and while sex was often incidental, it was not assured contractually. High-class or the most popular tawaifs could often pick and choose among the best of their suitors.

Some of the popular tawaifs were [[Begum Samru]] (who rose to rule the principality of [[Sardhana]] in western Uttar Pradesh), [[Moran Sarkar]] (who became the wife of Maharaja [[Ranjit Singh]]), [[Wazeeran]] (patronised by Lucknow's last nawab [[Wajid Ali Shah]]), [[Begum Hazrat Mahal]] (Wajid Ali's first wife who played an important role in the [[Indian Rebellion of 1857|Indian Rebellion]]), [[Gauhar Jaan]] (a notable classical singer who sang for India's first-ever record), and [[Zohrabai Agrewali]].

==Decline==
[[File:Gauhar_Jaan.jpg|thumb|Singer and dancer, [[Gauhar Jaan]] (1873–1930)]]
The annexation of Oudh by the [[East India Company]] in 1856 sounded the first death-knell for this medieval-era institution. It was soon looked upon with disfavour by the colonial government, and the tawaif were eventually forced to go into [[Prostitution in India|prostitution]] due to a lack of employment opportunities. [[Social reform]]ers in India opposed them as social decadence.<ref>Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage,
Sitara Thobani, Routledge, 27 March 2017</ref> The institutions survived until [[Indian independence movement|India's independence]] in 1947. Some of the famous tawaifs include:<ref>[http://chandrakantha.com/articles/tawaif/6_passing_the_torch.html A Few Famous Tawaifs of the Time, THE TAWAIF, THE ANTI – NAUTCH MOVEMENT, AND THE DEVELOPMENT OF NORTH INDIAN CLASSICAL MUSIC: Part 6 – The Passing of the Torch], David Courtney, 23 February 2016</ref>

* Malka Jaan, and daughter [[Gauhar Jaan]] (1873–1930) who created the very first Indian song recording in 1902.<ref>[https://www.youtube.com/watch?v=2pQF3KazeZc GAUHER JAN FIRST INDIAN RECORD IN KOLKATTA, Oct 31, 2009]</ref>
* [[Jaddanbai]] (1892–1949) – a master music composer, singer, actress, and film maker.
* [[Binodini Dasi]] (1862–1941)
* [[Rasoolan Bai]] (1902 – 15 December 1974)
* [[Roshan Ara Begum]] (1917 – 6 December 1982) [[Sitara-e-Imtiaz]]
* Zareena Begum of [[Lucknow]] (1947 – 12 May 2018)<ref>{{Cite news|url=https://www.hindustantimes.com/india-news/zareena-begum-awadh-s-last-royal-singer-dies-at-88/story-7D9j517oIinlqRuTUlh34H.html|title=Zareena Begum, Awadh's last royal singer, dies at 88|date=2018-05-12|work=www.hindustantimes.com|access-date=2018-08-04|language=en}}</ref>

They used to be the only source of popular music and dance and were often invited to perform on weddings and other occasions. Some of them became [[concubine]]s of maharajas and wealthy individuals. With the emergence of movies and record industry, however, they lost popularity.

==Popular culture==

The image of the tawaif has had an enduring appeal, immortalized in [[Bollywood]] movies and [[Pakistani dramas]]. Bollywood has a famous saying that an actress who cannot light up the character of a tawaif is not a real actress. Films with a tawaif as a central character include ''[[Devdas (1955 film)|Devdas]]'' (1955), ''[[Pyaasa]]'' (1957), ''[[Sadhna]]'' (1958), ''[[Zindagi Ya Toofan]]'' (1958), ''[[Sharafat]]'' (1970), ''[[Pakeezah]]'' (1972), ''[[Gomti Ke Kinare]]'' (1972), ''[[Amar Prem]]'' (1972), ''[[Umrao Jaan (1981 film)|Umrao Jaan]]'' (1981), ''[[Tawaif (film)|Tawaif]]'' (1985), ''[[Angaaray (1986 film)|Angaaray]]'' (1986), ''[[Inteqam]]'' (1988), ''[[Pati Patni Aur Tawaif]]'' (1990), ''[[Dil Aashna Hai (1992 film)|Dil Aashna Hai]]'' (1992), ''[[Devdas (2002 Hindi film)|Devdas]]'' (2002),<ref>{{cite news |title= Umrao Jaan|url= http://articles.timesofindia.indiatimes.com/2006-11-04/hindi/27807887_1_umrao-jaan-dream-lover-urdu|archive-url= https://web.archive.org/web/20120503103411/http://articles.timesofindia.indiatimes.com/2006-11-04/hindi/27807887_1_umrao-jaan-dream-lover-urdu|url-status= dead|archive-date= 3 May 2012|date= 4 November 2006|newspaper= [[The Times of India]]|access-date=22 January 2012}}</ref>, ''[[Mangal Pandey: The Rising]]'' (2005), ''[[Umrao Jaan (2006 film)|Umrao Jaan]]'' (2006),<ref>{{cite news |title=Ash glows at the mahurat of Umrao Jaan |url= http://inhome.rediff.com/movies/2005/oct/10ash.htm|newspaper= Rediff|access-date=22 January 2012}}</ref> ''[[Bol (film)|Bol]]'' (2011), ''[[Mah e Mir]]'' (2016), ''[[Kalank]]'' (2019), and documentary film, ''[[The Other Song]]'' (2009). Other films depict a tawaif in a supporting role, often in situations where a man in a loveless marriage goes to her.<ref>{{cite news|title= The Black Woman|url= http://www.washingtonbanglaradio.com/content/42323411-black-woman|newspaper= Washington Bangla Radio|access-date= 22 January 2012|url-status= dead|archive-url= https://web.archive.org/web/20110427040728/http://www.washingtonbanglaradio.com/content/42323411-black-woman|archive-date= 27 April 2011|df= dmy-all}}</ref> [[Pakistani dramas]] based on tawaifs as a central character are ''[[Deewar-e-Shab]]'' (2019),<ref>{{Cite web|access-date=February 2, 2021|publisher=propakistani.pk|url=https://propakistani.pk/lens/deewar-e-shab-teaser-is-all-about-an-artisans-love-story-video/|title="Deewar-e-Shab" Teaser Is All About An Artisan's Love Story [Video]}}</ref> ''[[Umrao Jan Ada (serial)|Umrao Jan Ada]]'' (2003) and [[Anjuman (2013 film)|Anjuman]] (a television film) while many other dramas also depict with life of tawaifs as a supporting characters such as ''[[Sitam]]'' (2006), ''[[Alif Allah Aur Insaan]]'' (2017), ''[[Raqs e Bismil]]'' (2020), and ''[[Khuda Aur Mohabbat (season 3)]]'' (2021).

==See also==
{{div col|colwidth=15em}}

* Similar professions in other nations
** [[Almeh]], a similar profession in the Middle East
** [[Ca trù]], a similar profession in Vietnam
** [[Geisha]], a similar profession in Japan
** [[Kisaeng]], a similar profession in Korea
** [[Oiran]], a similar profession in ancient Japan
** [[Nagarvadhu]], a similar profession in ancient India
** [[Shamakhi dancers]], a similar profession in Azerbaijan
** [[Yiji]], a similar profession in China

* Similar topics in India
** [[Bar girl]]
** [[Dance bar]]
** [[Mujra]]
** [[Nautch]]
** [[Devdasi]]

* Related topics
** [[Prostitution in colonial India]]
** [[Prostitution in India]]
{{div col end}}

==References==
{{reflist}}
{{refbegin}}
*{{cite book |title=The tribes and castes of the North-Western Provinces and Oudh |last=Crooke |first=William |year=1999 |publisher=Asian Educational Services |isbn=978-81-206-1210-5 |page=364 |url=https://books.google.com/books?id=MvAtxnxTWpwC&q=Tawaif&pg=PA364 |access-date=2008-05-10}}
{{refend}}

==Further reading==
* Martha Feldman, Bonnie Gordon. ''[https://books.google.com/books?id=U-iuYBiOkRgC&printsec=frontcover&hl=nl&source=gbs_atb#v=onepage&q&f=false The courtesan's arts: cross-cultural perspectives]''. pp. 312–352.
* [http://www.columbia.edu/itc/mealac/pritchett/00urdu/umraojan/txt_bautze_2009.pdf Essay on Asia art, history, epigraphy and culture in Honour of Gouriswar Bhattacharya]

== External links ==
*[http://chandrakantha.com/articles/tawaif/index.html The Tawaif, The Anti – Nautch Movement, and the Development of North Indian Classical Music]

{{Prostitution in India}}
{{Social issues in India}}
{{Alcohol in India}}

[[Category:Obsolete occupations]]
[[Category:Sex industry in India]]
[[Category:Courtesans by type]]
[[Category:Culture of Lucknow]]
[[Category:Culture of Uttar Pradesh]]

Tawaif - Revision history

imported>Nolicmahr: /* See also */