Nautanki Tales
As children we were
fascinated by the tales our old family retainer Kushaliya recounted about his days with a travelling Nautanki Theatre Company . Can we go see one ? we were
constantly asking him . But in families like ours, going to see a Nautanki was not just Non Brahminical , but also considered a sin on par with
drinking alcohol . Kushaliya had finally to smuggle us during
a family visit to see the hit play, Amar Singh Rathore , being staged at the Nau
Chandi fair in Meerut
. Individually and collectively we came to remember Nautanki thereafter as
a basket of forbidden pleasures where we saw lots of dance and music and grown ups with their shirts unbuttoned and their hair all disheveled, their usually
glum adult faces aglow with pure joy .
According to court papers
available , just before the great Uprising of 1857, the ill managed principality
of Awadh under Nawab Wajid Ali Shah, a.k.a. Jaan e Alam, was facing a grave financial crisis . The Court had, however, earmarked an annual
budget of Rs 30, 16000 to maintain the theatre buff Jan e Alam’s Rahas team , which included musicians
, actors, courtesans and acrobats, as also two permanent dress designers . In 1851 the Nawab got the
poet Aga Hasan ‘Amanat’ write Inder Sabha, a musical, for him and his
fabled troupe . With this play hybridized classical music , so far limited to family festivals or temples , found a new popular form by marrying classical Ragas to folk
music of Awadh . By the time the Nawab was exiled to Matiaburz in Calcutta by the British 1856, and moaned (in a letter) to his estranged Shaida Begum , “ O Jan e Jaan , we are no longer what we were ! Love and romance ( Ishq o Ashiqui ) have all flown out of our life !”, fun loving and loquatious Awadh had gained a popular commercial theatre that was soon travelling all over and in time begat Nautanki . The rich ( all male ) wrestlers’ Akhadas (training
institutes for wrestling and traditional forms of martial arts ) in the sugar belt of Awadh rescued the impoverished thespians . Celebrity wrestlers of Awadh, many of
whom were also skilled bone setters and masseurs , were rich enough to provide a haven to writers , musicians , teachers and out of work performers, and give them a permanent space where they could
interact with each other and also rehearse .
Around 1880 , the Akhada run by a prosperous local wrestler , Ustad Inderman in the prosperous town ofHathras
became a congregating point for theatre buffs . The Ustad talent
spotted and trained several bright Shagirds ( camp followers ) of whom was one Nattharam Gaud , son of a
blind Brahmin singer from the streets who excelled in playing female roles and became the star attraction for the
troupe’s Rahas presentations . His loyalty to his Ustad and his undeniable
talent resulted in his inheriting the theatre company from an ageing Ustad
Inderman . Once Nattharam took over , he set about organizing the wrting of fresh
scripts based on tales from the scriptures and old romantic ballads and lore .
He also created a proper repertory of trained and well paid performers , got
traditional craftsmen to design and
create new portable sets and backdrops for the new plays , and employed
music teachers to train his young actors . The first blockbuster for
Nattharam’s Company was a romantic play written by one Vasudev ji Basam , titled
Siyahposh ( The Dark Knight ) . It was the love story of two individuals , Jamal
and Gabru . It was basically a musical but also had small prose paras ( called
Drama ) inserted here and there . The next block buster came from Basam’s apprentice
(Shagird ) Murlidhar , who wrote a play called , Shehzadi Nautanki . This was a
tale of love between an anorexic princess ( Shahzadi ) called Nautanki and a
commoner , Phool Singh . Shahzadi Nautanki proved to
be so popular that the theatre form which was till then usually called Rahas or
Swang ( Impersonation ) , now came to be called Nautanki . Bolstered by back to back hits
and the cash registers ringing , the Company theatre was soon touring all over the
Hindi belt , carrying musical fantasies of love ( divine and carnal ) ,
colourful sets , and dancers all of which drove the audiences in the Kanpur and
Lucknow region wild . Whole villages emptied out when the Company wallahs were
sighted and the colourful tents came up
in the village commons near the Urs or Mela site .
As Hathras Nautanki began to
gain renown as entertainment , Akhadas in the neighbouring town of Around 1880 , the Akhada run by a prosperous local wrestler , Ustad Inderman in the prosperous town of
As the Company moved from village to
village , city to city , community to community, ticketed performance of Nautanki
plays earned enough to clothe and feed its large family of performers , carpenters , cooks
and tailors . Bhishtis ( water
sprinklers ) , legend says , sold their Mashaks
( water skins) and boys stole money and pawned family jewellery to buy
tickets for a night of revelry . Audacity helped induct women ( around 1934-35
) into theatre and this brought the audiences even closer to the performers (
leading to many unforgettable scandals !) . The noted Hindi writer from Poornia Phaneeshwar
Nath Renu has immortalized the Nautanki mania in his Teesri Kasam , a story about a Company Bai ( Heera ) and a
bullock cart driver Heeraman . This delicate love story was later made into a memorable film of the same name by
the musician film maker Shailendra .
By 1920 the town of Kanpur became for Nautanki , what
Mumbai is to the film industry today . Its rich textile and jute mills and thriving leather
businesses that employed over thirty thousand migrant craftsmen from all over
the Hindi belt , created an ideal audience for the raunchy and melodramatic musicals
as also plays filled with a patriotic fervour . The latter brought several
police crackdowns on theatre companies and forced some of the Ustads to migrate
. Erotic theatre , however , flourished . Bereft of their families the mill workers waited avidly
for the excitement of Nautanki which by now featured singing beauties like Moti
Jaan and Gulab Bai in female roles . Most of the Nautanki women belonged to the
traditional courtesan stock ( Deredaar
Tavaif ) or communities like the Kalbeliyas , Bedias and Nats , who were facing
penury after the British government declared them to be criminal ( Zaraympesha)
tribes . These women were immune to the profanities and obscene cat calls in
public spaces so long as they were paid regularly and well . But finally the drunken audiences began
booing off seasoned artists with calls of Ladki bhejo ! ( Send in the young
women !) .
In post
Independent India , Nautanki began declining but its music still
attracted high and low . The recording company HMV began recording popular
music from Nautanki and by 1969 it had released at least eight 78 RPM records
by one of its star performers , Gulab Jan . In the absence of clear Copyright
laws these pulsating songs were freely lifted , polished somewhat and used to
great effect in Bollywood films like Mughal e Azam ( Mohey Panghat Pe) and
Mujhe Jeene Do (Nadi Nare na jao Shyam ) . Bollywood films cannibalized Nautanki talent as they wer to do with Bhojpuri and Haryanvi films later . By the 1990s , the
Nautanki- bred triad of Ranjit Kapur , Annu Kapoor and Raghuvir Yadav had also migrated to Bollywood since Companies were increasingly being
relegated to places like Singhi , Shikohabad , and Beeghapur .
In the age of Milk Cooperatives , tractors and the great urban migrations , old peasant fairs like Sonpur and Nauchandi no longer drew the rural young . And even in the urban areas , Nautanki survived by now on the charity of occasional government festivals to promoteIndia ’s
folk theatre . In 2001 Sangeet Natak Akademy of Andhra Pradesh had a week long
festival of folk theatre across India
. Then the Society of Indian Scholars
presented a two day festival Nautanki 2003 at Singapur .This was followed by
the Delhi Hindi Akademy’s Nautanki fest in 2004 and another one in 2007 at the Kumbh fair in Allahabad , it was clear that Nautanki as an
organic genre was no longer such a hot ticket among the authentic rural
folk .
In the age of inexpensive music from the Net , mobile apps playing Bolly hit songs all day , Nautanki is an exotic orchid , kept alive artificially in a few hot houses . Its name now survives as a cheeky pejorative like The Great Indian Nautanki Company , a JV of Apra and Wizcraft that launched a Twenty First Century Avatar of Nautanki : The Kingdom of dreams inaugurated by the Chief Minister of Haryana . It opened as was appropriate, with Zangoora , the world’s longest running Bollywood musical !
In the age of Milk Cooperatives , tractors and the great urban migrations , old peasant fairs like Sonpur and Nauchandi no longer drew the rural young . And even in the urban areas , Nautanki survived by now on the charity of occasional government festivals to promote
In the age of inexpensive music from the Net , mobile apps playing Bolly hit songs all day , Nautanki is an exotic orchid , kept alive artificially in a few hot houses . Its name now survives as a cheeky pejorative like The Great Indian Nautanki Company , a JV of Apra and Wizcraft that launched a Twenty First Century Avatar of Nautanki : The Kingdom of dreams inaugurated by the Chief Minister of Haryana . It opened as was appropriate, with Zangoora , the world’s longest running Bollywood musical !
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