Courtesans and the 1857 Revolt: Role of Azeezun in Kanpur

Abstract

In history voice of the common people has been invisiblized for a long time. However, in recent times attempts have been made to bring the common people to the forefront of history. But still, a significant section of women's history, especially of those on the margins, considered the ‘other’ women in the construction of middle class women, remains invisible. The ‘other’ women represented common women, considered to be coarse, vulgar, loud, morally degraded and sexually promiscuous. Having greater access to public sphere, these women were relatively independent, outside rigid formations and not so clearly contained by caste, class, gender or a demarcated space, and so considered threatening. Bringing these women as subjects in history would unsettle the middle class ‘respectable’ discourse. One important section that has been excluded from history are women performers. Nationalist discourses have always negated or erased their creative aspect by putting them out of the framework of the respectable nation. This article brings to the forefront one such performing community, that is, courtesans, a section of women belonging to singing and dancing community. Unfortunately, little remains of the writings of these women, considered to be the most educated women of their times. Compounding the silence of these women has been the silence of scholars, thus leaving gaping holes in social history.