Author(s): Prof. Dr. Sachin S. Bandgar

Abstract: Indian music traces its roots back to the Vedas, which date from 4000 to 1000 BC. Among these, the Sama Veda is particularly significant as it established the foundational principles of Indian music. During the Vedic era, an additional three notes were incorporated into the original tetrachord, culminating in the first complete scale of seven notes. Despite the ancient origins of Indian music, women have faced considerable challenges in achieving prominence in this field, particularly in vocal music, within a society where men dominate various aspects of life.

An illustrative example of the gender bias in Indian vocal music is found in the story of Ustad Bande Ali Khan, a highly esteemed beenkar. He expressed his desire to marry his two daughters to musicians who could perform alongside him on the Veena. Ustad Zakiruddin Khan and Ustad Allabandi Khan sang while Ustad Bande Ali Khan played, and he was so impressed by their talents that he arranged marriages for his daughters with them. Although Bande Ali Khan’s daughters were proficient in playing the been, their husbands prohibited them from engaging with the instrument, citing that it was inappropriate for women to perform music in a respectable Muslim household. In defiance of this restriction, the women seized opportunities to play when their husbands were away. Upon discovering their actions, the husbands permanently forbade them from touching the instruments again. In retaliation, the wives cursed the family, proclaiming that a woman would one day save it from ruin. To this day, the women of the Dagar family are not permitted to perform, as it is claimed that “we are a Muslim family of great repute,” yet they often possess extensive knowledge of music. The curse of Bande Ali Khan’s daughters remains unfulfilled, but their legacy endures through the current members of the Dagar family, who are their descendants.This situation was not unique, even within a family deeply rooted in music such as that of Dinanath Mangeshkar, a renowned stage actor and musician. Gender-based decisions were made that restricted his daughters from pursuing careers in film singing. Despite the male-dominated nature of the Indian music industry, which reflects broader societal trends, numerous female vocalists—including Meerabai, Begum Akhtar, Girijadevi, Kishori Amonkar, Gangubai Hangal, Parveen Sultana, D. K. Pattammal, M. S. Subbalakshmi, M. L. Vasantha Kumari, Abida Parveen, Shubha Mudgal, Lata Mangeshkar, and Asha Bhosle—have established themselves and gained both national and international recognition. Virtually every culture worldwide boasts significant musical contributions from women, with some genres being exclusively female-oriented. Nevertheless, in India, there is a greater acceptance of women as performers compared to their roles as composers, conductors, and directors. In this essay, I will provide a brief overview of the biographies of several prominent female musicians in India, based on my assessment .

DOI:10.61165/sk.publisher.v11i12.47

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Women in Hindustani Classical Music

Pages:236-240