Salacious Songs: Khemṭā Dance and Participatory Printed Media in Nineteenth-Century North India
Songbooks were an especially popular product in the colonial-era book industry of northern India. From cheap chapbooks to multi-volume tomes, collections of lyrics covered a range of tastes and genres, appealing to different social settings and performance practices. This article excavates the world...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2022
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| In: |
International Journal of Islam in Asia
Year: 2022, Volume: 3, Issue: 1/2, Pages: 182-204 |
| Further subjects: | B
Muslim lyricists
B print B performance history B khemṭā B South Asian music history B songbooks |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Songbooks were an especially popular product in the colonial-era book industry of northern India. From cheap chapbooks to multi-volume tomes, collections of lyrics covered a range of tastes and genres, appealing to different social settings and performance practices. This article excavates the worlds of music-making invoked by these books through the case study of khemṭā. The khemṭā dancing girl was a low-status performer, associated with the playboy culture of early-nineteenth century Calcutta. Khemṭā lyrics were considered especially salacious and sensual, and the common view today is that the genre was geared towards titillation rather than artistry. Following the exile of Wajid ʿAli Shah of Awadh (r. 1847–1856) to Calcutta, this genre began to be choreographed and performed in the royal court, and the former king began to collect – and compose his own – khemṭā lyrics. By the late nineteenth century, khemṭā dancers were performing at fairs across northern India, and their verses were being compiled and printed in different scripts and languages. | ||
| 520 | |a Khemṭā’s increasing popularity challenges the general impression of the late nineteenth century as a period of rising conservatism posed against “decadent” literary and musical forms. This view of the period presents an obstacle to making sense of the activities of Muslim lyricists, choreographers, dancers, and songbook editors. Countering this narrative, this article considers how khemṭā was printed, read, sung, and danced, and the modes of listening and arousal embedded in the printed song text. | ||
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